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EDUCATIONAL 
DRAMATICS 



BY 

EMMA SHERIDAN FRY 

THE FOUNDER OF THE SCIENCE OF 
EDUCATIONAL DRAMATICS 



REVISED AND ENLARGED EDITION 



NEW YORK 

LLOYD ADAMS NOBLE, Publisher 
1917 



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11/7 



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Copyright, 1913, by 

THE EDUCATIONAL PLAYERS 

NEW YORK 

Copyright, 1917, by 
EMMA SHERIDAN FRY 



All Rights P.eserved 



DEC -4 1917 

©CU481787 



CONTENTS 

CHAPTEB PAGE 

I THE SUMMONS 1 

n DEFINITION OF TERMS 6 

III EXPRESSION 11 

IV DRAMATIC EXPRESSION 26 

V EXAMPLES OF THE EDUCATIONAL USE OF THE 

DRAMATIC INSTINCT 31 

VI PUBLIC PERFORMANCES 48 

VII REHEARSALS 55 

VIII THE PLAYER AND THE PART 67 

IX TEXT READING AND SPEECH 74 



PUBLISHER'S FOREWORD 

Emma Sheridan Fry is the founder of the Science 
of Educational Dramatics. She first formulated laws 
whereby the spontaneous functioning of the Dramatic 
Instinct may be regulated to Educational purpose. 
She first tried out and established The Educational 
Player Method whereby amateur theatricals become 
Educational Dramatics, and the "coach." is trans- 
formed into the enlightened co-operator with a pri- 
mary educational force. 

There is not room here to name the many teachers 
who are doing creative work by this method, — devel- 
oping their own powers and those of their educational 
players. 

Mrs. Fry founded the work of the Children's Edu- 
cational Theatre and of the Educational Dramatic 
League. 



INTRODUCTION 

These pages are intended to meet the immediate 
need of those actually doing dramatic work, — as 
Teachers, Club Leaders, or Amateur Players, — who 
wish to measure their results to an improved educa- 
tional and dramatic standard. 

It is recognized that many here addressed are urged 
chiefly by a desire to "get the play on," or to "do 
their part," at a higher entertainment value than 
they now reach. 

Practical methods are therefore here set forth, 
rather than philosophy. Underlying principles are 
here simplified to the immediate purpose of accom- 
plishing satisfactory entertainment results. At the 
same time, the Teacher is guarded from the use of 
injurious methods that at once destroy or lessen the 
dramatic values of the entertainment and obstruct the 
Player. 

Entertainment value at a high dramatic standard 
is incidental to, and assured by, right method of prep- 
aration. This was amply tested and proved in the 
performances at the original "Children's Educational 
Theatre." (Educational Alliance Building, 1903- 
1909.) All the productions there were in my charge 
in every stage of preparation, — from the arranging of 
the plays for educational use through all the proc- 
esses of class and rehearsal work. 



viii INTRODUCTION 

The educational significance of those productions 
was brought under the personal inspection of author- 
ities throughout the country by the able business 
policy of my valued associate there, Miss A. Minnie 
Herts, now Mrs. Heniger, the general business man- 
ager of the enterprise. 

The methods whereby results were there accom- 
plished are here for the first time outlined. Many of 
the " Children's Educational Theatre" productions 
are here quoted and analyzed. 

Life is Activity. — The significance of the Dramatic 
Instinct to the educator is that it exists in everyone 
and stimulates the Being to activity in every depart- 
ment. Operating spontaneously, the Dramatic In- 
stinct induces those real life processes whereby the 
Being makes contact with Environment, and responds 
with various reactions. The educator inducing the 
Dramatic Instinct thus comes into control of natural 
activities, and may select, develop, and regulate them 
to accomplish his educational intent. 

The educator does not train dramatic talent for the 
stage, or coach "amateur actors" for a "show." He 
does not invite or use talent at all. He co-operates 
with a universal instinct to develop the whole human 
being towards life and citizenship. 

Educational Dramatic work first profits the Player. 
To supply entertainment for an audience is not a 
primary intent. Indeed, many forms of educational 
dramatic work do not include a performance or tend 
towards any kind of exhibition. A production more 
or less elaborate may be a step in an orderly process 
of the Player's development, and each reiteration of 



INTEODUCTION ix 

the production is an added step ; entertainment value 
to the audience is merely a guarantee of right edu- 
cational method of preparation. 

Complete consideration of the use of the Dramatic 
Instinct includes: 

I. Study of the laws governing real-life processes 
of contact with environment, and response in expres- 
sion. 

II. Presentation of the laws governing spontane- 
ous dramatic expression. 

III. Establishment and application of the laws 
governing dramatic expression induced for educa- 
tional purpose. 

The present hand-book deals briefly with parts I 
and II of the subject, and only so far as to make 
clear the practical applications which follow, for 
those who must at once deal with some form of 
entertainment. 

The subject is fully covered in a text book now in 
preparation, "The Educational Use of the Dramatic 
Instinct.' ' 

Emma Sheridan Fry. 



EDUCATIONAL DRAMATICS 

CHAPTER I 
THE SUMMONS 

Environment knocks at the gateway of the senses. 

A rain of summons beats upon us all the time. All 
kinds of invitations to come out, push in at every 
crack. The air shakes about us with " Where are 
you!" It always has. It always will! Everything 
there is, is trying to get at us all the time ; struggling 
with our unwillingness, jumping at our bars, batter- 
ing our walls, shouting against our deafness, shining 
and dazzling into our blindness ; teasing, fretting, beg- 
ging, fighting, — it will have us, whether or no! 

Finding no gate, it tries to break in one. Turned 
aside, it comes another way. Kept back, it plucks at 
us with long fingers, threading us out to little tendrils 
to entangle. Always, all times, scheming to reach us ! 
Here it raises a bump, there scratches a sore place, 
catches a thread, starts a blink! Never was suitor 
more insistent than Environment seeking admission, 
claiming recognition, signalling to be seen, shouting to 
be heard ; and through the ages we sit inside of our- 
selves — deaf, dumb and blind, and will not stir. 

"What happens next ? Maybe you, sitting inside of 

1 



2 EDUCATIONAL DRAMATICS 

yourself — let us say you at Centre, are not deaf, dumb 
and blind, but eagerly alert for a signal. Perhaps, 
somehow, from the excitement outside, signal reaches 
you at Centre and makes you aware of the deaf, dumb 
and blind, closed gates that front and baffle Environ- 
ment. Maybe, on your side you stir. 

Perhaps that is how eyes and ears and gates came 
to be. You at Centre, realized a need at Surface. 
You pushed out through the deafness and dumbness 
and blindness of the Body, making ways to meet the 
challenging suitor, windows through which to see him, 
ears through which to hear him. Long ago were these 
gate-ways made; yet perhaps, now, to-day, this mo- 
ment, and all moments, Centre still pushes out to see 
more, hear more, find more of all that Environment 
has to show and tell. 

Why? 

Perhaps even now, though these sense-gates are, and 
ears and eyes and reachers and welcomers have come* 
to be, they must still be kept ready and open, alive, 
shined up, and willing, because on one side is Environ- 
ment still striving to sieve through us at every pore, 
and on the other side are We, greedy, outrushing, 
clamoring for more and more, of the more and more 
there always is. 

Why? 

From the very beginning till now, left to ourselves, 
this urge at Centre never rests. It batters forever at 
the inner side of our walls, crying ''Welcome !" and 
dragging down bars, wrenching gates, prying at port- 
holes, listening at cracks, reaching everywhere, and 
demanding the utmost and always more of every sense. 



THE SUMMONS 3 

Thus sense-gates are built because of demand on either 
side, and they swing both ways, because we want to 
push out to meet Environment pushing in. 

Why? 

We grow impatient, push the gates wider, and tip- 
toe at our thresholds, signalling with venturous flag 
to snare "our own" out of the more and more Envi- 
ronment shows. Now and then, an imperious instinct 
warns that somehow this "own" is not enough, that 
"all" is ours, and that whatever anyone has ever had 
or known, or may ever have or know, we would call 
and claim. A sense of life-universal surges through 
our life-individual. We attack the feast of this table 
with an insatiable appetite that cries for all. 

Only when civilization clamps us, the school straight- 
jackets us, society submerges us, luxury feather-beds 
us, privation wrings us, Life itself steam-rollers us, do 
we tend, brow-beaten, stultified and ominous to bur- 
row inside of ourselves, and refuse signals, till, again 
deaf and blind and dumb closed gates baffle Environ- 
ment, and we do not stir. Thus are we taken by an 
indifference that is death at Centre. Divine hunger is 
checked by bitter bread. It is as if the horse balked 
on the Divine road, and we, discouraged, dismount 
and let him stand. No suffering that life may take in 
through tortured senses is catastrophe like to the loss 
of that Eternal Urge, which lashes us to our gates 
crying "Welcome" to Environment's call. 

Why? Why? 

What are we? Please never mind established 
scientific terminology! Be jocund with me to take 
a short cut. What are we ! Better men than I have 



4 EDUCATIONAL DRAMATICS 

told you in many books ; yet, boldly tucking the Star 
of our intent into the Lantern of our Necessity, let 
us lift it towards this question, and take the path it 
shows. Does the path cut across the King's Highway 
to Far-Town? Never mind, we are only going to 
Near-Town; so debonair of Kings, let us swing our 
lanterned star, and find our way. 

What are we? 

A precious bit of God's consciousness coming, now 
slowly and painfully, now at a run with cap in air, 
into a recognition of ourselves as One with God. 
What are we? Something circumscribed into Envi- 
ronment by Personality. Personality is only a little 
bit of the whole of us, and our Environment is only 
a little bit of the All. The whole of us is behind that 
hungry rush at the gates of sense. We would seize 
all, learn all, know all here, that we may fare further 
on the great quest. 

Hooded by Personality, we are shadowed away from 
the glare of the All, and we settle here to our task of 
control, inside and out, without consciously relating 
the task of Now to the task of Eternity. But the 
Eternal Urge is behind us. The only real death is 
the stoppage of that Eternal Urge. 

Life is a series of responses to Environment. 

Living stops when responses stop. We are alive in 
proportion to the number, strength, and delicacy of 
our responses. Response means life at Centre at- 
tested by expression at Surface. 

Does Environment beat unheeded at the sense-gates ? 
Does response fail and re-action balk ? 



THE SUMMONS 5 

Does the surface misrepresent Centre? Is life 
blanketed by indifference ? 

Let us then swing high our star, and seek the laws 
governing real-life processes that, coming into their 
control, we may stimulate, develop and regulate them. 

We shall do this by coming into co-operation with 
the Dramatic Instinct. 



CHAPTER II 
DEFINITION OF TERMS 

That we may without confusion understand each 
other, a few terms must be accepted : 

The Dramatic Instinct is an urge within that stimu- 
lates the Being to natural activities. It induces those 
processes whereby Environment reaches us. It rouses 
us to a recognition of the Outside. It provokes those 
processes whereby we respond to the attack of the 
Outside upon us. 

The Dramatic Instinct is the agent of the sub-con- 
scious mind, and it is a developed form of the "Play 
Instinct " dealt with by Froebel. 

Centre. — "You yourself," towards whom environ- 
ment reaches. The conscious part of you that may 
be aware of environment, and that may reach environ- 
ment, and that responds to contact with environment. 

Contact. — The meeting of you yourself (Centre) 
with environment; as when you hear a noise, or see 
a light, or in any other way meet with, come against, 
are made aware of environment. 

Expression. — The effect upon the body of the re- 
sponse at Centre to environment. 

Life may be thought of as the activities involved 
in the processes whereby we become aware of environ- 
ment and the associate activities whereby the body 

6 



DEFINITION OF TEEMS 7 

is shaped and moved in response to, and in expression 
of, the condition at Centre. 

The Body. — The instrument of expression. 

You at Centre, respond to environment, and this 
response stimulates the instrument to expression. In 
other words, contact at Centre induces (by certain 
processes to be studied) expression at Surface. 

Impulse. — Energy generated when Centre contacts 
Environment. Impulse is life force. It is power. 
It sweeps through the body, shaping and moving it 
to expression. 

You at Centre become aware of a danger. Energies 
of response are generated. They may be those of 
fear or of courage. These energies animate the body. 
The body in response, is thrown into new shape, and 
movement and action. Some impulses are regener- 
ating, others are injurious and disrupting. Some 
impulses stimulate life, others spend, waste and poi- 
son it. 

Some impulses shape the body to beauty, and move 
it in grace and serenity, others mar it, and misuse it. 

Form. — The shape the body takes and its action 
in responding to impulse. 

Joy, for instance, may shape and move the instru- 
ment in many different ways of expression. 

Grief may shape me to a form of expression quite 
different to the form into which it moulds you. 

Real-Life Expression is the form and action of 
the body in response to contact of Centre with actual 
environment. It results from Eeal-life processes. 

Eeal-Life Processes. — Those activities of the Being 



8 EDUCATIONAL DEAMATICS 

induced by contacting with, and responding to En- 
vironment. 

Dramatic Expression is the form and action of 
the body in response to the contact of Centre with 
environment supplied by the Dramatic Imagination. 
It results from real-life processes. 

Dramatic Imagination is that form of the imagi- 
nation which co-operates with Dramatic Instinct, and 
supports its processes. 

Please realize fully, that the Dramatic Process 
from Contact to Expression, is precisely the same 
as the Eeal-Life Process. Therein lies the educational 
significance of the Dramatic Instinct. 

In real-life, contacts are limited to those supplied 
by actual environment. 

The Dramatic Imagination supplies contacts inde- 
pendent of actual environment. 

Stimulated by Dramatic Instinct, Centre seizes up- 
on such "Dramatic Environment," and proceeds to 
activities precisely as in real life. 

Dramatic Instinct operating spontaneously, thus 
exercises the Being in natural activities. 

The operations of dramatic instinct may be induced 
for educational purposes. 

Contacts chosen by the educator may be offered to 
the dramatic imagination. 

Dramatic instinct may be thus stimulated to induce 
real-life processes controlled and regulated to edu- 
cational purpose. 

These real-life processes may be guided by the 
educator to develop, exercise, and regulate the Being 
in any department. 



DEFINITION OF TERMS 9 

The Being. — By this term I mean the whole man. 
The combination of all his forces, — mental, spiritual, 
physical, moral, and those of the heart, often called 
" emotional. ' ' Think of Man as a combination of 
mind and body and heart, played on by spiritual and 
moral forces — all this together, is the Being. 

No Being is fully exercised in the opportunities 
and activities permitted by the individual restrictions 
of personality and environment. 

Dramatic Instinct spontaneously operates to exer- 
cise the Being outside of these restrictions. 

In co-operation with the Dramatic Instinct, the 
educator may regulate such exercise, and scientifi- 
cally relate it to other educational processes. 

Think of the Being as possessing all the powers 
and qualities possible to humanity. 

Let us name these powers and qualities The Hu- 
manities. 

The Being is exercised and developed in relation 
to Eternity by the experiences of this life. 

The Being operates through a personality, (you, 
or me) coming so in contact with Environment, and 
profiting by life experience. 

The personality does not use all the Being. En- 
vironment does not present all of life. 

The personality is a certain combination of the 
humanities. 

The Being then, is restricted in its experience and 
exercise by the limits of the personality through 
which it functions, and by the limits of the Environ- 
ment in which it is confined. 

The Dramatic Instinct operates spontaneously not 



10 EDUCATIONAL DBAMATICS 

only to exercise the Being independent of Environ- 
ment, but to throw the humanities into new combina- 
tions, thus exercising the Being independent of the 
restrictions of the established real-life personality. 

Dramatic Personality. — That combination of the 
Humanities which is brought about by the Dramatic 
Instinct. It is a temporary personality through 
which the Being finds temporary and experimental 
exercise and expression outside the limits of the estab- 
lished real-life personality. 

The educator inducing Dramatic Processes, may 
invite any combination of humanities deemed educa- 
tional, thus regulating, developing and exercising the 
Being in all departments and to the full strength of 
its resources. 

In order that we may understand dramatic proc- 
esses, and induce them intelligently to educational 
purpose, we must know something of real-life proc- 
esses, and how they started. 



CHAPTER III 
EXPRESSION 

The Real-Life Process. — The normal result of con- 
tact at Centre with Environment is reaction at sur- 
face in expression. 

Process. — An object in environment attracts At- 
tention, and makes contact with Centre. 

Investigation follows. The senses converging upon 
the object, and making report to Centre. 

Identification results. This is a double process. 
The object is first recognized in its relation to Self. 
Almost simultaneously the relation of Self to the 
Object is recognized. 

Re-adjustment at Centre is caused by identification. 
Self is reconditioned, changing from the passionless 
level of Investigation, and finding itself desirous of 
the object or not. 

The re-conditioned Centre generates energy. 

This energy outflows through the body as an im- 
pulse corresponding to the condition of Centre. The 
body is shaped and moved thereby into an expression 
of the condition at Centre. 

These processes merge into each other and are vari- 
ously regulated by intervening Will and Conscious- 
ness. 

The body is an Instrument of Expression. Into its 
terms, the conditioned Centre is translated. 

11 



12 EDUCATIONAL DEAMATICS 

Operated by impulse, the body becomes a picture 
or representation of the condition at Centre, and an 
instrument carrying out the will of Centre. 

Normally, Centre does not seek to control, and is 
not aware of the processes by which the body responds 
in shape and movement. 

The body as an instrument of expression is capable 
of an infinite variety and complexity of responses. 
It operates in obedience to laws inviting careful 
study. Its channels are to a certain extent subject 
to the control of the Will, and the selection of Centre, 
but the processes by which these channels convey 
impulse, and translate energy into expression, are in- 
dependent of consciousness. Resulting form and 
movement is normally an automatic response of Sur- 
face to Impulse. 

The response of the body in form and movement 
tends to stimulate Centre to a continued supply of 
animating impulse. 

Centre tends to reflect its condition in form at Sur- 
face. Form at Surface tends to create condition at 
Centre. 

Certain conditions injurious and abnormal, dis- 
associate the response of the instrument from its 
normal automatic relation to impulse. 

Self-consciousness is a form of such disassociation. 
The Being so afflicted is victim to dis-ease at Centre, 
whereby Consciousness becomes burdened with 
awareness of the Body and of its processes of response 
to impulse. Under such conditions Centre may in- 
tervene to dictate those processes, or supervise, or 
judge them. Such abnormal and painful condition 



EXPRESSION 13 

induces form and movement at surface without the 
generation of a corresponding and impelling impulse. 
"Awkwardness," "stiffness," or elaboration of move- 
ment results, or an expression wholly alien to the 
normal relation of Centre to Surface. 

When a so afflicted Centre attempts to dictate, sup- 
press, or engineer the processes of movement and ex- 
pression, Body and Being become the field for con- 
fused and conflicting forces. 

The question of disassociation is complex and 
important to the Educator. Further study is in- 
vited. 

Misdirected educational efforts too often induce it. 
Ignorant "coaching" and meddling with the proc- 
esses of the Dramatic Instinct traffics in it. 

The usual amateur player, drilled by the usual 
Coach to movements and declamations wholly without 
the development of corresponding inner processes, is 
a significant study in disassociation. 

Conditions inducing disassociated action are in- 
jurious always. 

A thorough knowledge of the processes whereby 
real-life expression results is the Educator's safe- 
guard from mistake in dealing with induced dramatic 
processes. 

Your attention is then urged to further considera- 
tion of the sequence of the Eeal-life process. 

PROCESS-CHART FOR MEMORIZING. 

I. Contact. — Environment attacking the sense 
focuses attention. Centre becomes aware of the Ob- 
ject. 



14 EDUCATIONAL DEAMATICS 

II. Investigation. — Centre receives continued re- 
port of the Object through the senses. 

III. Identification. — 1. Centre realizes the Ob- 
ject as related to self. 2. Centre realizes itself in 
relation to the Object. 

IV. Eeadjustment. — Centre is reconditioned as 
a result of and in automatic response to identification. 

V. (a) Generation of Energy. 
(b) Outflow of Impulse. 

VI. Readjustment at Surface; Expression. — ■ 
The body takes a shape and moves in response to im- 
pulse, thus translating the energy at Centre into Ex- 
pression and action at Surface. 

explanation of process. 

Contact. — All objects in Environment, within range 
of the Senses are in contact with the senses. But 
You at Centre are not in contact with the object till 
(by processes that invite your further study) atten- 
tion focuses Centre upon the report of the Senses. 
Sounds are falling all the time upon the ears ; objects 
lie within the range of vision and ' ' the eyes rest upon 
them" but you do not "hear" or "see" till atten- 
tion makes you aware. 

An object then, from among the many unheeded in 
Environment, flags Attention through a sense, and 
Centre focused by Attention becomes aware of the 
report of the sense, and thus comes into contact with 
the object. 

Note. A thought, or memory, or an inner presenta- 
tion made by the Dramatic Imagination, may be the 
object of contact. In such case the senses seem to 



EXPEESSION 15 

operate inwardly, in co-operation with the imagina- 
tion, or with whatever is the creating cause of the 
object. 

Contact is in some measure voluntary. If Centre 
be preoccupied, indifferent or otherwise "cut off," 
Contact may be delayed or confused or ignored. 

Contact may be invited, or sought or chosen or re- 
fused by Centre. 

Life is for each, what he makes Contact with. He 
who chooses his Contacts regulates his Life. The 
Educator's further study is invited. 

Shock Contacts. — Environment sometimes attacks 
a sense with violence and suddenness. Centre is then 
flung automatically into readjustment. Impulse 
leaps, and the Instrument reacts almost simultane- 
ously, and all this before Investigation. Investiga- 
tion may follow, or may be attempted, or it may not. 

Investigation tends to be voluntary. Through 
the attracted sense, and through other senses brought 
to bear upon the object, Centre inspects and con- 
siders. 

Investigation as such, is passionless. The mind is 
receiving the report of the senses. Centre is " find- 
ing out" about the object. 

An anticipation of Identification may influence this 
condition. 

The period of Investigation is a most important 
one in the process towards expression. The efficiency, 
integrity and vehemence of the impulse which shapes 
the body to expression is in proportion to the concen- 
tration and thoroughness of the investigation. 

A shock of conviction attends the identification 



16 EDUCATIONAL DRAMATICS 

which results from a complete and satisfying inves- 
tigation. 

Identification occurs spontaneously at some point 
in the process of investigation. 

The object is first recognized, or identified in its 
relation to Centre. Next and almost simultaneously 
Centre recognizes its own relation to the object. 

Centre's recognition of its own relation to the iden- 
tified object results spontaneously in Readjustment. 

Readjustment. — Whereas Centre during the proc- 
ess of Investigation was aware only of the object, 
and wholly unaware of Self, except as an investi- 
gating force, Self now finds itself related towards the 
object in some way involving a reconditioning of it- 
self. Self is no longer "I, investigating" but knows 
itself as desirous of the object or averse. 

Sometimes Readjustment involves all department 
of the Being, sometimes it concerns only a little of us. 

Impulse. The conditioned Centre flings out Im- 
pulse. 

The Condition is the source of the impulse, it is 
what generates the Impulse. Impulse is the energy 
which proceeds from the Condition. The impulse is 
representative of the condition. As out of the orange, 
orange-juice; out of the lemon, lemon-juice; so from 
a Centre conditioned to joy, happiness, welcome or 
hate, springs an impulse of joy, happiness, welcome, 
or hate, — a power that outpushes through the instru- 
ment shaping and moving it to an expression of joy, 
happiness, welcome or hate. 

Impulse is a greater or less force according to the 
importance and completeness of the readjustment. 



EXPEESSION 17 

It may be strong enough to hurl the entire Body 
into violent action, or it may serve only to move the 
tiny muscles influencing the expression of the face. 

It may spread through every part of the body, or 
it may push through a few channels only. 

It may be sustained for a period, as a steady out- 
flow from the conditioned Centre, and gradually re- 
lieve the condition, or it may be a single outfling 
which exhausts the condition. 

Impulse is Life at work. To control and induce 
the generation of impulse and its use of the Instru- 
ment is to control the processes of Living. 

The Educator is invited to further study. 

In the real-life process no impulse undertakes the 
animation of an area of the instrument beyond its 
strength. 

Expression and Form. — The Body shapes itself 
automatically in response to Impulse. Whereas the 
Conditioning of Centre is a kind of reaction to Con- 
tact, the Form at Surface is a reaction to the outfling 
of Impulse. 

In the real-life process "I" at Centre is not con- 
scious of the form of Expression. 

"I" at Centre is not conscious of the processes by 
which the Body responds with expression. 

1 'I" at Centre does not concern itself either with 
process, or resulting Form, nor does it dictate proc- 
ess, or interfere with, engineer, or take note of 
Form. 

Centre readjusting demands expression, the de- 
mand is the generating of impulse, impulse outrushes 
through the Body, and the Body automatically and 



18 EDUCATIONAL DRAMATICS 

by various processes inviting study, responds, and 
represents Centre by aspect, movement, speech and 
action. Normally the Instrument operates without 
arousing Centre to conscious attention. Sickness, 
injury and the stiffness or elaboration caused by self- 
consciousness may attract Centre's attention. Mis- 
guided educational efforts, and "coaching" methods 
often deliberately burden Consciousness with respon- 
sibility concerning these processes, which should pro- 
ceed harmoniously as a part of living and in undis- 
turbed obedience to their own laws. Centre may ex- 
ercise a certain authority over Impulse; impulse may 
be denied expression, or sent down one channel or 
another, but the Instrument slips into Form auto- 
matically. 

So at the Piano, I may choose the key I will strike, 
I may see to it that the instrument is in tune, its ac- 
tion flexible and responsive, I may even regulate my 
striking, but the processes between my stroke on the 
key, and the translation of that act into sound, are in 
the nature of an automatic response of the instru- 
ment to my pressure, these processes are not dictated 
by me, or in my control. 

When Life functions freely and naturally we walk 
unaware of our feet, and of how they put themselves 
down, and take themselves up. 

We welcome unaware of our aspect, gesture 
or words, we avoid a blow "instinctively" unaware 
how, we deliver one and do not dictate the process. 

It may be that a desire to profit by complete co- 
operation of the Instrument may incite us to a period 
of study of the Body, and deliberate practice and 



EXPBESSION 19 

development of its power to serve us. The educator 
may invite such study and practice, but the period 
of practice and development and study over, the im- 
proved service proceeds automatically, and during 
its functioning is not involved in relation to con- 
sciousness. 

When Life functions freely and vigorously Centre 
is happily unaware of itself, and of the processes by 
which it is served, and of the form service takes. 

Let us review the real life process. Its order of se- 
quence is unchanged no matter what the arousing 
attack from Environment, and no matter what the 
form of final response in expression. 

First, Contact is established between Centre and 
Environment through the senses. There follows 
then, in orderly sequence Investigation, Identification, 
Readjustment (reconditioning at Centre). — Keadjust- 
ment causes the release of impulse, the Body (the 
Instrument) is animated thereby, and shaped and 
moved to the uses of Impulse. 

Thus Expression is accomplished, and the Con- 
dition at Centre is externalized. The Body, reacting 
to Impulse, becomes the representation and agent of 
the condition at Centre. By the aspect and action 
of the Body (including speech), we may know what 
kind of impulse animates it, and we may judge of 
the condition of Centre, from which the Impulse 
springs. 

When Life functions freely and vigorously induc- 
ing Life processes unhampered, the processes operate 
with energy in each period. Contact is close, and fol- 
lowed by Investigation that searches the object 



20 EDUCATIONAL DRAMATICS 

through every available sense, engaging an attention 
sustained and eager. Identification comes with a 
shock of conviction, establishing a recognition that 
carries with it a relief of certainty. Readjustment 
involves vigorously the whole Being, and the out- 
springing impulse is powerful, unmixed and efficient. 
It spreads throughout the channels of expression, 
causing a vigorous reaction through a flexible and 
responsive body. Resulting form and action is vig- 
orous, beautiful, and wholly significant and repre- 
sentative of the Centre from which it springs. 

The Educator dealing with the Dramatic Instinct, 
is at work to induce these processes, — and only as he 
does induce them, vigorous, beautiful and significant 
of Life at work according to the Laws of Life, does he 
fulfil his sacred responsibility. 

Life is not half functioning when loose contacts 
indifferently made provoke only a passive attention 
and when Centre held vaguely aware for a period 
that lacks the concentration of Investigation, slips 
away into indifference without accomplishing any 
real identification, or experiencing any shock of re- 
adjustment,- or profiting by that augmentation of 
Life-energy which outflings Impulse. 

Careful consideration of the chart and explanation 
above is urged, — and the Player, and Producer is 
reminded that the entertainment value of the per- 
formance is in proportion to the " naturalness, ' ' 
''spontaneity," and vigor of the Player. These qual- 
ities result only when his speech and action is an or- 
derly part of Expression, resulting from real-life 
processes. 



EXPKESSION 21 

THE BODY AS AN INSTRUMENT OP EXPRESSION. 

The Body is the Instrument through which Life 
lives. It is sacred and beautiful and wonderful. 
We make it every minute, it makes us. 

We are one with it, as the hand is one with the 
glove, as the rider and horse are one, as the light is 
one with the sun, and the scent is one with the rose. 

As an instrument of expression the Body operates 
in different Zones of significance. 

Across the Chest the "Conscious I" locates itself, 
names itself "me" and calls all the rest "mine." 
Here is a chief breath space. 

Across the body just below the Chest is the Emo- 
tion Zone. Here the "Conscious I" knows itself as 
feeling; here is the heart, joyous, suffering, desir- 
ing. 

The Vital Zone is across the body below the heart. 
Here are gathered organs concerned in the support 
of physical life, here the "Conscious I" knows itself 
stirred by elemental forces, and conditioned by many 
physical processes that tend to act independent of 
"conscious" direction. 

The Mental Zone is the head, here the "Conscious 
I" knows itself as thinking and controlling. 

The face is a chart in little of the whole body, as 
an Instrument of Expression. The Vital Zone is 
represented by the lower part of the face. The jaw 
and chin, and the lower lip. Here fight and power 
of fight shows and all the hungers cry. The lower 
lip serves the Heart zone. At the eyes, all impulses 
leap first. The mind, the heart, the passions, and 



22 EDUCATIONAL DEAMATICS 

spiritual powers all signal from the eyes. Thought 
marks the brow, and shapes the lips, especially the 
upper one. 

Each Zone has sub-stations in other Zones. The 
Mental Zone finds expression in the hands, especially 
the fingers. To the vital and emotional zones belong 
the palms, — Mental and nervous energies run to the 
extremities, — head, hands, and feet. Impulses seek 
expression in that zone of the Body which corre- 
sponds to the Condition at Centre. A Centre fling- 
ing out Impulses of violence, of fight and passion 
will be represented by the animation of the Vital 
Zone, and sub-stations in other Zones. 

Other impulses may run to the mental Zone and 
its sub-stations. 

A full-chord Expression tends to fully animate its 
own zone, and rouse associate sub-stations. 

According to the Impulses using it, the Body as an 
instrument of Life, and of the Expression of Life, 
is shaped and made, and tends to specialize. 

Here is a "stomach man" who trundles his stom- 
ach about that his hands may be in reach of dinner, 
and his ready mouth start it on the way. 

Here the "Book man" with overweighted forehead 
dipping the head, breathing spaces narrowed, vital 
Stations undeveloped, lips thinned, eyes sharpened, 
body stooped by desk habits. 

So wonderful is the Body that no matter what 
specializing of Expression we have forced upon it, no 
matter into what shape we have thus built it, a new 
Impulse will attack the corresponding zones and sub- 
stations, and they will try to respond. If the Im- 



EXPRESSION 23 

pulse persists, some fleeting response will result. If 
the Impulse holds and insists, pushes, demands, and 
sticks, the Body will begin to reshape to meet the 
requirement. If the Stomach man be thus attacked 
and coerced by an Impulse that strikes "higher up" 
the body will begin to scrape off flesh, polish up the 
eyes, lift the head, recarve the lips, and dig the heart 
out of the stomach. 

Who, then, chooses his contacts, controls his re- 
sponses and regulates his impulses, makes his Body. 
And the Body is the instrument through which his 
Life functions; it is the picture, representation and 
agent of himself. 

The Educator dealing with the dramatic instinct, 
may 'present contacts and regulate the resulting se- 
quence of life-processes towards Expression. Thus 
the Educator deals with the human being in process 
of Living, and with the Body in its building to ex- 
press Life, and to be used by Life. 

Some Impulses soften the Body, lift it, expand and 
ennoble it. Others fold the body in on itself, hunch 
it, and sink the chest, blink the eyes, dry, flatten, 
crease and pinch. 

The Body is a thing of beauty, grace and dignity, 
when Life functions freely, animating it with en- 
nobling impulses. 

The Body is a shame of Civilization when, crippled, 
starved and outraged, it shrinks, and claws and 
menaces ! 

What shall be done ! Stir Centre to new Contacts, 
rouse new responses, stimulate Centre to outfling new 
Impulses, beneficent, up-building, re-creating. The 



24 EDUCATIONAL DRAMATICS 

Being will awake, and the Body, lift, and shine and 
vibrate with the glory of new expression. 

The Educator who deals with the dramatic instinct 
deals with the re-creating power of Life. 

The Educator aware of the relation between Im- 
pulse and Form, between the Condition of Centre 
and the shaping of Surface in expression may operate 
the wonderful law whereby the Form of the Body, 
tends to create a corresponding Impulse. 

As the rescuer induces artificial respiration in the 
drowned man, and so stirs Nature to take up the task 
of breathing, so the educator may guide the outer 
Form, and thereby start the generation of a required 
Impulse, which once started will set up the desired 
re-creating life-processes. 

A very different matter this, from the tyranny of 
the ignorant "coach" who dictates outer Form, dis- 
associated from corresponding Impulse, and tends to 
paralyze, obstruct and cancel life-processes. 

The enlightened Educator may dissipate an Im- 
pulse by releasing the Body from the form of its ex- 
pression. 

Don't argue with the angry child, — its brain isn't 
working. Don't punish, its fight centres are already 
overcharged, — even an appeal to its "better emo- 
tions" may fail, for the emotion field is preempted by 
anger. Unlock the clenched fists, with a cautious 
and loving hand, soften the stiffened neck by a 
circling arm that invites the angry head to a friendly 
shoulder, — a kiss craftily inserted between the brows 
will untangle them, a sly finger tracing the little 
nose from bridge to tip, — a sudden gathering of the 



EXPEESSION 25 

stiffened dear little body into the warmth of an em- 
brace, — and! — try it! I've known children from five 
to — say fifty despoiled of an intent to fight, by some 
such method! 

The spirit shapes the Body as does the hand the 
glove. The body shapes the Spirit as the flagon 
shapes the Wine. 



CHAPTER IV 
DRAMATIC EXPRESSION 

SPONTANEOUS PROCESS. 

Dramatic expression spontaneously results by pre- 
cisely the laws that induce Real-life expression. The 
sequence is exactly the same. 

In the Real-life process, Contact is supplied by the 
real environment. 

In the dramatic process, the imagination supplies 
Environment. 

Centre accepts the edict of the imagination, the 
acquiescent senses are converged upon the accepted 
object, and thereafter the processes are precisely 
those of real life. 

Thus the operation of the Dramatic Instinct re- 
leases the Being from the limitation of fact. 

Thus functioning through the Dramatic Instinct, 
the Being exercises independent of the limitation of 
fact. 

In the real-life process, the operating Centre rep- 
resents the Permanent Self. 

In the Dramatic process, the Imagination co-op- 
erating with the Dramatic Instinct may establish a 
Centre especially calculated to deal with the Dra- 
matic Environment. 

Such Centre represents a Personality other than 
26 



DRAMATIC EXPRESSION 27 

the permanent personality. Self tolerantly stands 
aside, and allows the Dramatically imposed Person- 
ality to draw from all the sources of the Being and 
to operate through the dramatically imposed Centre. 
Self is thus vicariously exercised. Many sources of 
the Being not tapped in real life experience, are 
made use of by the Dramatic Centre, in its contact 
with the Dramatic Environment. 

Thus the operation of the Dramatic Instinct, 
may release the Being from the limitation of person- 
ality. 

Thus functioning through the Dramatic Instinct, 
the Being may exercise independent of personality. 

That form of the imagination which stimulates the 
functioning of the Dramatic Instinct, and co-operates 
with its processes, is the Dramatic Imagination. 

Dramatic Imagination influences environment in 
its relation to Expression. 

It regulates and determines and creates environ- 
ment to supply contacts independent of the facts of 
real-life environment. 

It influences the Being in its relation to living. 

That is, it deals with the Being as a source of uni- 
versal humanities. It regulates these humanities and 
throws them into various combinations, creating thus, 
personalities through which life many function and 
seek contacts with imagined environment which are 
denied in real-life environment. 

The Dramatic Instinct thus meets the demand of 
the Being for a fuller activity than it may enjoy 
limited by fact environment and permanent person- 
ality. 



28 EDUCATIONAL DEAMATICS 

The Dramatic Instinct tends to inspire the Being 
to unlimited action and expression. 

Should the operation of the Dramatic Instinct in- 
vade and confuse the field of real-life verities, then 
injury is done. 

If by any abnormal or hysteric process the real 
personality is led to believe in the dramatic environ- 
ment, illusion results, Centre is victimized, and the 
Being misused. The Instrument may be hurled into 
unregulated expression based on such misrepresenta- 
tion. 

Should the Permanent personality, under the stim- 
ulus of a misguided or abnormally influenced Dra- 
matic Instinct, lose hold on its identity and confuse 
itself with the Dramatic Personality, the verities of 
Life are attacked, and the Educator is warned that 
the field of illusion and insanity is entered. 

The Player's personality is perhaps thus only 
transiently unseated, the Hysteric's personality is 
invaded by violence and confusion, the maniac's per- 
sonality is permanently unseated. The misguided 
Dramatic Teacher who, seeking "dramatic effect" 
lashes the Player to an acceptance of the dramatic En- 
vironment as real, and thus precipitates him in his 
own person to life-processes of response and expres- 
sion sequent to this illusion, is inviting hysterics, and 
tampering with the sanctities of Personality. The 
enlightened teacher co-operates with the dramatic 
Imagination, establishes the Dramatic Personality, 
and invoking the Dramatic Instinct brings that Per- 
sonality into contact with the Dramatic Environment, 



DRAMATIC EXPRESSION 29 

inducing life-processes, which exercise the Player's 
qualities in new combinations, while his own person- 
ality, acquiescent and serene, remains passive with- 
out loss of authority or self-recognition. 

The Educator is earnestly invited to further in- 
vestigation. 

INDUCED PROCESS. 

The processes of the Dramatic Instinct may be in- 
duced and regulated to Educational Purpose. 

Induced Dramatic Expression is educational only 
as it conforms to the laws of spontaneous Dramatic 
Expression, thus stimulating real-life processes, and 
regulating the functioning of the entire Being to 
educational profit and the purposes of life and cit- 
izenship. 

Sluggish centres may be stirred to Contact with 
Environment. The senses may be practiced, devel- 
oped, regulated. 

The Body as an instrument of expression may be 
rendered vigorous, beautiful and efficient. 

Contacts missed in real-life Environment, may be 
supplied in selected dramatic Environment, and qual- 
ities may be thus stimulated by required exercise that 
chey may re-act upon real-life Environment. 

Complications of life and citizenship may be tried 
out experimentally to the end that the Being and 
Personality may meet efficiently, fearlessly and nobly 
the demands of real life. 

Many matters of school routine may be brought 
into the lives of pupils as personal experiences sought 



30 EDUCATIONAL DRAMATICS 

by desire, and acted upon by the whole being, not 
merely thrust into the mind, or drudged into the 
body. 

Ignorant, careless, or irresponsible inducing of 
dramatic processes works injury in every way. 

The horrors of self-consciousness, or zest for self- 
exhibition may result. Disassociation in some form 
must occur, — hysterics are invited. 

An audience influenced by personal interest in the 
players, and ignorant of the fact that right prepara- 
tion results always in performance at entertain- 
ment value, may forgive stiffness, effort and dullness 
in an amateur exhibition, and even find it interesting, 
but the injury involved to the Player, may not be 
overlooked or forgiven by any enlightened educator, 

An expert ' ' professional Coach ' ' may produce with 
" amateurs, ' ' an exhibition at satisfactory dramatic 
standard, but the measure of educational profit in 
dramatic work is not the entertainment value of the 
performance to the audience, it is the educational 
value of preparation to the Player. 



CHAPTER V 

EXAMPLES OF THE EDUCATIONAL USE OF 
THE DRAMATIC INSTINCT 



In 1908 New York City decided to close by law all 
Sunday entertainments. 

For some years, performances under my dramatic 
direction had packed the Theatre at the Educational 
Alliance each Sunday afternoon with children. 
" Snow-white/ ' "Little Lord Fauntleroy, ' ' "Prince 
and Pauper," had been "educating both sides of the 
footlights," and the principles involved in the use 
of the Dramatic Instinct for the development of the 
Player as a human Being had been unfolding to me 
in the processes of preparing these plays to meet edu- 
cational requirement, and in the training of the chil- 
dren and young people for their presentation. 

New York succeeded only in closing the law-abid- 
ing little Educational Theatre at the Alliance. 

Story-Playing was an emergency device to meet 
the need of substituting some form of entertainment 
which should be within the law and yet satisfy the 
clamoring children who stormed the closed doors of 
their Theatre. 

Years before, I had made certain use, for children,, 
of the story of "Cicily and the Bears." At that 
time, I had not realized the forces with which I dealt, 

31 



32 EDUCATIONAL DRAMATICS 

but the plan made later, under pressure of hurry and 
necessity for the preparation and carrying out of 
Public Story-Playing at the ''Children's Educational 
Theatre" in 1908, was founded on the rock of prin- 
ciples which by then had become clear to me, and 
the results were astounding. 

Results I am sure would be finer, and more far- 
reaching, were Story-Playing made a part of orderly 
development of the Dramatic Instinct, and intro- 
duced in sequence with "Supposes," but the general 
method of Preparation at the Alliance, may be here 
recalled to stimulate further use. 

I read the story to children gathered in a class- 
room, free to come and go as they pleased. 

It is a variant of the Cinderella story. 

"Doing" was then proposed, and ways and means 
discussed. 

Previous study had familiarized me with the possi- 
bilities of the material, but discussion with the chil- 
dren was genuine, and thereby I was enlightened by 
their better wisdom. 

We referred constantly to the printed text, sifting 
its values. I can give here but a beggarly suggestive 
outline of this most interesting period of develop- 
ment. 

Questions urged close consideration of the text. 
Public opinion ruled, the noisy majority being held 
in check by frequent reference to the minority's 
point of view. We thought only of how to tell the 
story by "doing," so that any one seeing and hearing 
us, would know the story much more clearly than if 
he had read it. 



STOEY-PLAYING 33 

Interest in the desire to tell, purged all instinct of 
self-exhibition. 

"Good! Let's begin with the Market-Place ! 
And the crowd is there as the story says. What will 
the crowd be doing? Buying and selling, and walk- 
ing about and gossiping as crowds always do any- 
where! Yes! We can have chairs about, to be the 
shops, and Cicily will be in the crowd of course, 
shabby and shy, because she is poor, and no one no- 
tices her. Oh, no! Not unhappy, because she is a 
merry creature even if she is poor! Barefoot? I 
s'pose so! Bags? Oh, — let's plan the whole story 
first and what they do, and then think about clothes 
and other things, or we never shall be through and 
doing it! 

"Now what happens! The Bellman's bell can 
sound outside the Square just as in the story, and 
we can hear him calling ' Oh, Ye 's ! Oh, Ye 's ! ' and 
the bell really ringing. Then what will happen! 
The Bellman will march in, yes! Ringing and call- 
ing, and 'all the people of the place will come run- 
ning' as the story says! What a lot more fun in 
will be to be doing it than just hearing about it. 
Oh, yes! of course, they chatter at him. The story 
does not say that, but any one would know it. Will 
Cicily want to hear too ? She is just as interested as 
anybody, though I suppose she will not push! How 
can any body hear the Bellman if every body is 
chattering! Of course, that's what the bell is for, 
and anyhow, if they want to hear, they will listen, 
won't they, and they do want to hear, or they would 
not have run to him. 



34 EDUCATIONAL DRAMATICS 

"What does the Bellman say! The story only 
tells a little of it. That's because the story must 
rhyme, and cannot be too long. But we can let the 
Bellman talk as a real Bellman would. I don't know 
how he would talk! I never heard one. Didn't 
anybody ever hear one? Let's think it out. Would 
he talk in rhyme? You needn't all laugh, the story 
is rhyme. Of course that's only telling about it, 
and we are going to do it. Nobody talks rhyme, — 
really. His voice would be loud and strong. Yes! 
The story says so. But you see we know it anyhow. 
He wouldn't be elected to be a Bellman if nobody 
could hear him. 

"He probably feels very proud when all the people 
stop what they are doing, and run to listen to him. 
I can see him with his chest up! The story 
tells about his clothes, so we needn't think 
that out. We can pretend the golden lace, and any- 
how, if he looks proud enough it will take the place 
of lace. When he has finished telling the people, 
what does he do! — To be sure! — He starts for some 
other Square ringing his bell. All the people who 
have heard him go off to dress. The story says so. 
Oh, no, it doesn't! — Only the women. What shall 
the boys do! Let's make it a real party, and have 
boys, too. We need not do exactly what the story 
says unless we want to. We can't leave the boys out 
of all the fun! 

"The women must buy new ribbons, as the story 
says — and the clock must strike two. Hoiv shall we 
have a clock! — Let's think of that afterwards! 
Good ! Someone can strike on the radiator two times, 



STOKY-PLAYING 35 

like a clock. Then they can all dash off to dress 
when they hear the clock. Cicily does not go, for she 
has only one dress and that's on her. She can stay 
in the Square all alone, and tell things, as she does 
in the story about wanting to go, and her shoes being 
pieced. — Oh! That shows she isn't barefoot! 

"Then the clock strikes three. — (Yes, there'll 
haffto be someone to be the clock, and strike the 
radiator, but between times he can be a person going 
to the party.) And all the people dressed up come 
marching along 'in a row' as the story says. (They 
can pretend the dressing up.) They can all march 
proudly through the Square to show they are going 
to the Castle. And Cicily can be so pleased to see 
it all, and afraid to join them, but she can follow 
after. — Music ! There must be music ! It says so. 
'But she heard the band and to see the show.' We 
can pretend with something, or some of us can just 
beat our hands together, and sing 'tum-te-tum' to 
keep step to! 

' ' Yes, Jimmy ! bring pot-covers for next time ! 

"Where can they go to the Castle!! Goodness! 
Where can the Castle be! We have just this one 
room. Could we have a row of chairs along the back, 
and pretend it's another part of the City behind the 
chairs! And the row of people, with Cicily follow- 
ing, and, the 'Tum-te-tum' people going first, can 
march around behind the chairs, and come to here 
again, only it will be the Castle now, instead of the 
Square. There ought to be a Gate! The story says 
so! Let's just pretend there is a gate. The Gate- 
man can stand there, and all the people go by the 



36 EDUCATIONAL DRAMATICS 

Gateman, and that shows they're in the Castle. 
Then what happens. Look at the book someone! 
Oh, he stops Cicily! 

"He says 'Miss Shaggy-Pate' at her. What do you 
suppose she says. — The Story doesn't tell, but of 
course, she says something. — Do you suppose Sir 
Nicholas is right there in the Hall when the people 
come in, or does he march in, grand and noble, after 
the party is begun! When Cicily first gets in, no- 
body sees her! Perhaps she sort of hides. But let 
us not have her unhappy. She is so delighted to be 
in and seeing all the dresses and hearing the music, 
that she has no time to be unhappy. Now let there 
be music and a great shouting outside, and let Sir 
Nicholas come in very grand and handsome, with 
servants walking in front. 

"And he must have a dais. The story says so, 
'raised on a dais.' What's a dais! Does no one 
know what a dais is ! — Maybe it 's a throne. He 
ought to have a throne anyhow! Someone must look 
in the dictionary and find out what a dais is. Al- 
ivays you must look in the dictionary to find out when 
you don't know what something is. That's very 
important. But let's pretend now, that it's a throne. 
We could use the table. That would be high, and 
when you got to it, you could give a little hop up, 
and when you had hopped up, you could be Sir 
Nicholas again, because of course, he wouldn't have 
hopped ! 

"Yes, Yes, Yes! There can be music all the 
time, and all the people can holler when he comes in ! 
Don't everyone talk at once for I cannot hear, and 



STOKY-PLAYING 37 

we must hurry, or we shall never come to doing it, 
and the whole fun is doing it! Does Sir Nicholas 
say anything? Look in the book. The book doesn't 
say he says anything, but that's probably because 
it's poetry, and has so many things to tell. The book 
probably supposes we would know he would haffto 
say something to all the people he had invited to his 
own party. So we can let him say whatever he 
wants to that is pleasant and polite. Being so noble 
a person, he would of course, be pleasant and polite. 

" There should be a table, because the book says 
they were invited to a feast. — The servants can ar- 
range chairs as if there were a table, — and all this 
time, Cicily has been thinking how beautiful Sir 
Nicholas is. She can be telling about it while they 
are fixing the table. (No — we cannot have the table 
for the table, because it's being the dais.) The book 
doesn't say what Cicily says. Never mind, she will 
know, and she can say whatever she chooses. Then 
her heart begins to feel strange, and she hides behind 
the curtain and cries. We can use the coat that 
hangs by the wall. Now what happens! They hear 
her cry. And say 'turn her out.' And let's have 
the Gateman come to do it. Then there is 'the dou- 
ble roar.' That is the bears outside. Somebody 
must be all ready to roar! Yes, yes, everyone shall 
have a chance to roar! The people forget about 
Cicily, and are dreadfully frightened. Probably Sir 
Nicholas just smiles to himself because he knows all 
about it. 

"Now the bears! Some of the boys must be two 
bears! Yes, yes, we will do it over and over, so 



38 EDUCATIONAL DEAMATICS 

everyone that wants to, can be bears. 'In come the 
bears on their hinder legs.' It says so. Everyone 
will scream, — and rush around, and 'hide underneath 
the table/ (If there isn't a table, they can do it 
just the same.) Sir Nicholas tells them, ' Order, 
ladies!' But they don't. He can tell them any- 
thing else he wants to, only he doesn't have to talk 
rhyme, as the story does, and of course, he must be 
polite. Oh, yes! He could stand on the table, — 
that would look beautiful, and he could easily hop 
down when he got through. (We needn't notice the 
hop.) 

" Let's have the bears march around the room. 
Scaring everyone. They must think the people very 
foolish, because they are tame bears, and accustomed 
to proper manners. When they come to Cicily — oh, 
look in the book, — 

"Because her hair hung wild and free, 
The bears looked hard at Cicily. 
' Related to us, Miss, you must be.' " 

Do you suppose they really talk! — or just grunt. 
Yes, yes ! That way ! As if they were grunting, but 
knew perfectly well what they meant. And Cicily 
gets the cherries! Never mind about what we can 
have, — she can just hold her hands out for it! She 
is very polite! Of course, she is frightened. That's 
what makes it so brave to be polite. 

"Do the bears take the plates? Probably, being 
tame bears, and in such a nice family, they always 
eat off of plates! 



STOBY-PLAYING 39 

"Sir Hildebrand, — that's his other name, hops 
down off the table, and 'strodes up to see.' And he 
says who is it, and how pleased he is, and anything 
else he wants to, though the book hardly has him say 
anything. 

"And he takes her by the hand, — oh, how shy she 
must be, and proud, and happy. Because — you re- 
member, — she loved him very much. That was why 
she went behind the coat and cried. And he says 
he's going to marry her. 'This is the bride for me.' 
That is certainly a very nice way to say it, though 
he probably says more too. The story says the ladies 
are vexed. But probably they do not stay vexed. 
Being a party, it would not be polite to. And he 
dances with her. Can she dance! — Of course, she 
can dance! Being poor does not keep one from 
dancing! 'And danced with her a saraband!' I 
never saw anyone dancing a saraband. It must be 
beautiful! And she turns round and round, while 
he holds her hand, because it says how her hair 
'swung and swirled.' 

' ' Then Sir Nicholas kissed her ! And he was prob- 
ably very stately about that, because, always, in 
those days, the Kings and Noble People, kissed their 
bride to show everyone how much they cared. Of 
course, the people shout and are glad of the grand 
wedding that's going to be. And Sir Nicholas leads 
Cicily to the dais. (Shell just haffto hop up too, 
and he will hop beside her.) — And that's the end of 
the story. — But we can't have them left sitting there 
on the table for the rest of their lives. — Let's let 
them all march off, With Sir Nicholas and Cicily 



40 EDUCATIONAL DEAMATICS 

first — no ! The Bears first. — Or shall they be last. 
Let's find out which we'd rather, when we do it. — 
And that can be the end. Of course, he couldn't 
marry her at once, without her hair combed. But 
we can know that the wedding is going to be, — 
and " 

If I shall have suggested the eager chatter, the 
crowding suggestions, the happy task of regulating, 
the merry give and take, the purpose of the above 
will have been served. I hope only to help you catch 
the spirit of the method. 

Perhaps only a little at a time may be planned, 
and that little "done" at once. Stop frequently to 
discuss not how things are done, but why, — not what 
is said, but what they want to say. Anticipated dif- 
ficulties melt away, the children swing into beautiful, 
eager freedom of movement, words pour forth. Mis- 
takes correct themselves. The verities inherent in 
the situation regulate the working out. Present al- 
ways the highest and sweetest motives. The children 
will always respond, with beauty and verity. 

The Sunday afternoon of our experiment found 
us very anxious. "Would the inrushing audience find 
our story-playing a satisfactory substitute for their 
usual entertainment. 

Miss Jessie McKinley, one of our most charming 
and capable class-members told the story, with happy 
gaiety, explaining that it would thereafter be 
"done," first by children who had practiced it some, 
and then that the children in the audience might 
come up and do it. 

The story played with gusto! The audience was 



STOKY-PLAYING 41 

breathless. No scenery, no costumes ! Triumphantly 
the law proved itself. A performance that fully 
profits the player, never fails to interest the audience. 

Thereafter, the stage, across which no curtain was 
drawn, was put at the disposal of the Audience chil- 
dren. Cast after cast, assigned hap-hazard, mounted 
the platform, and "did" the story with the greatest 
ease, unction, and delight. The verities of the situa- 
tion regulated speech and movement. Real-life 
processes resulted, and a corresponding dramatic 
illusion invested the whole. No two casts played 
alike. A "Bear" of one cast was "Sir Hildebrand" 
of another. "Cicilies" having played, joined the 
"crowd" of other casts. 

The situation took ampler working out each time. 
The Bellman became more and more noble. The 
ladies haughtier. Cicily danced as I'll warrant the 
little player had never felt like dancing in real life. 

Story-playing was made the feature of Sundays 
for several weeks, — Miss McKinley in charge. Va- 
rious stories were used, and always she went on with 
a plan of "working out" over which I spent patient 
preparatory effort with her. The first cast always 
developed the situation without any drudgery of re- 
hearsal. The audience casts always seized upon the 
work with no preparation at all, beyond hearing 
the story and seeing it done by the first cast. 

Great the profit ! There is no isolation of audience 
from players. The spirit of exhibition cannot de- 
velop under conditions that so urge spontaneous 
expression. Ideals take shape. Vocabulary is puri- 
fied, speech sweetened, voices modulated, manners 



42 EDUCATIONAL DEAMATICS 

influenced, and the children profit by hours of happy 
activity and association in a common interest. 

It is not easy to find play-stories, nor easy to plan 
their working out. Cicily and the Bears is a fine 
model. 

Some day I shall make a book of them to help you; 
out. 

Stories involving crowds are best. Continuous 
action in one place must be possible. Motives must 
be simple and powerful, and easily in the field of the 
child's existing state of development. Animal stories 
may be used. Certain Robin Hood ballads serve. 

Played stories are largely independent of acces- 
sories. Dramatic illusion triumphs over fact, as gal- 
lantly as when the instinct is at work in a child's 
free and spontaneous play. 

SUPPOSES 

AND OTHER EARLY USES 
OF THE DRAMATIC INSTINCT 

When the mother coaxes a smile with greedy and 
loving finger at the corners of the stolid baby-mouth, 
the earliest appeal is made to the Dramatic Instinct. 
The law she wots not of is invoked, whereby environ- 
ment taps and rouses the spirit to interest and re- 
sponse. That precious, stolid bunch-of-baby has made, 
as yet, no inner test of life. Feeling is based on know- 
ing, so the little mind is incapable yet of even rudi- 
mentary "Identification," but its mystery is to be 
unlocked by Love and Joy, and its Instrument is 
ready to respond accordingly. 



SUPPOSES 43 

So when Love's finger taps at those little smile- 
muscles, up flickers the answering smile, and the 
second great law of which Mama wots not, springs 
to service. "Outer form tends to stir Centre to 
the generation of corresponding impulse," so inside 
the precious stolid bunch, something towards smile- 
condition happens, and Life begins. 

You see why babies die in droves in Institutions. 
"When the wee thing wakes up a bit inside, Love, — 
another name for Mother Craft, — a-quiver with wel- 
come, coaxes and gurgles and huggles, smiles and 
nods, making shrill, sweet summons. The precious 
Stolidity melts, the out-flung life lines are caught at, 
gurgles and smiles and tentative noddles and huggles 
come and life goes on. You see why babies die in 
droves in Institutions. 

So, at the beginning, expression derives from a form 
of "shock contact," and is an automatic response of 
the Instrument to outer attack before the mind has 
investigated, or decided. Before it can. You see, a 
rudimentary form of Imitation is also involved, for 
the dear Stolidity presently spontaneously puts forth 
a smile, or a gurgle, without knowing why. (Don't 
tell Mama that — none of us believes it.) The profit 
of the putting forth is, that it leads to knowing why. 
Thus, you may take instruction as to the early func- 
tion of Imitation, and so avoid its mis-use later, when 
you are trying to make a sweet Stolidity do Juliet, 
or, — Macbeth. 

So Mother Craft and the Dramatic Instinct work 
first at close quarters. Snuggled in the arms, little 
Stolidity comes alive under rhythm, and rocking, 



44 EDUCATIONAL DKAMATICS 

crooning and foolish goo-talk. Later, not far beyond 
the reach of circling arms, come nursery rhymes, 
and those historic reiterations of rune and cadence, 
the sweet mystery of which is yet to be out-plucked 
by science. 

Follows (remember periods over-lap and inter- 
play; Nature forever smudges an artist thumb along 
lines of demarkation) the Story-telling time, while 
little Stolidity in early period of absorption, is sop- 
ping up life. 

The function of the Story is to quiet the body and 
set the mind alive in the field of imagination. When 
the story soaks in far enough, and, as the child 
matures, the Dramatic Instinct wakes more fully 
the desire to "be and do" sprouts. The child rest- 
lessly wants to "act out" with his own instrument 
the impulses which he "catches" from the story. 

Story-playing, as already outlined, offers a transi- 
tion from the receptive and quiet story-period to the 
"doing and being" period. A portion of the story 
may be "done" in the midst of the telling, or dra- 
matic expression may find material in "Supposes." 

Suppose Peter (choose a name not included in 
your group) is very bad, and sneaks into the 
pantry and sticks his finger in the jam jar, and 
has it partly licked off, when, in the salad bowl, 
he sees, down in the bottom, a poor little mouse 
that got caught in and could not get out, because 
of the slippery sides. And he rushes to his mother, 
hollering about the mouse, and she sees his finger 



SUPPOSES 45 

all jam! and . . . let's do it! Who will be Peter 
and who will be Mother? 

Of simplest material, you see, a "Suppose" is 
made, and a little experience develops expertness. 
Also, the children will help you. 

Never carry the situation to conclusion. The above 
"Suppose" does not tell what Mother thinks and 
does. Part of the fun is spontaneous development of 
climax. Avoid dialoging the situation as you tell it. 

In this early use of the Dramatic Instinct, speech 
crystallizes spontaneously, as part of expression. This 
"spontaneous speech," or "no text" period pre- 
cedes the more complex and artificial "text" de- 
mands, which culminate in the Play, and the Pro- 
duction. 

Here's another "Suppose." Bob has been kept 
in. He is mad and miserable, and is sure his sis- 
ter, Katie, told on him. In comes Katie to get 
something Teacher told her to, and Bob tells her 
what he thinks about her, and . . . let's do it. 

I promise you surprise and delight in the varied 
developments of the relation of Bob and Katie. You 
notice the "Suppose" does not indicate Katie's guilt, 
or otherwise, nor how she responds to Bob's attack. 

Climaxes will occur in bewildering variety. Some- 
times the entirely unprovided for "Teacher" ma- 
terializes to help on the finish. You, yourself, will 
guess what humanity lessons may be conveyed. Man- 
ners, English, morals, and so on. All incidental to 



46 EDUCATIONAL DRAMATICS 

the primary function of Educational Dramatics, the 
development of life processes in the individual. 

An advance towards Text Work provides dialogue 
along with the story, and gives a variant of the 
''Suppose," as, for instance, — 

It is in the street car, or at the circus, or some- 
where like that, and Jimmy's mother is one side 
of him, and a lady he does not know comes in and 
sits on the other side of him, and this is what 
happened. (Now write the dialogue on the black- 
board.) 

Jimmy. Ma. 

Mother. Sh ! 

Jimmy. Ma! Ma! 

Mother. Sh! Sh! 

Jimmy. I want my chock-ky-lick ! 

Mother. Sh ! You et-It. 

Jimmy. I did-dun. I did-dun! 

Mother. Sh ! You did. 

Jimmy. I did-dun neither, the Lady got-tut! 

Mother. Sh! I say. 

Lady. I have not your chocolate, little boy. 

Jimmy. S 'haz ! S 'haz ! She sittun non nit ! 

Conduct analysis to the boiling point. You will 
meet a delighted willingness to accept the above im- 
posed Text-form. Observe that climax is not indi- 
cated. The Lady (who will surely be costumed "all 
in white" by popular edict) will complete the trag- 
edy, I promise you, in thrilling fashion. 

The above hints at the riches of early Dramatic 



SUPPOSES 47 

Instinct activity, must here suffice. You already 
guess that "Supposes" may develop into little scenes, 
or even ' ' one acts, ' ' and thus move towards the Play 
Period. They afford Dramatic activity for Players 
from childhood into maturity, and their use over- 
laps the time of Stories and Kindergartens at one 
end, and of Drama at the other end. 



CHAPTER VI 
PUBLIC PERFORMANCES 

These are a legitimate phase of educational dra- 
matic work, especially for Players beyond the school 
period. As an expression of organization spirit, 
Club, School, Neighborhood or University, nothing is 
finer than the coming together of members in a per- 
formance just for the love of it, or to "raise money" 
for some good cause. 

Such a performance organized in business fashion 
and involving a money and artistic responsibility is 
a fine influence. A very different matter this from 
the use of children or young people in School period 
in any permanent responsibility towards Public Per- 
formances. The one is wholly to the advantage of 
the Players. The other, for many reasons made clear 
to me in my experience at the "Children's Educa- 
tional Theatre," is a mistake, and a menace to the 
welfare of the children, even under the best training 
and most careful organizing. The principles behind 
the dramatic side of a Public Performance are exactly 
those behind the simplest form of educational Dra- 
matic work. 

In steady view must be kept the following princi- 
ples: 

48 



PUBLIC PEEFORMANCES 49 

EDUCATIONAL PROFIT TO THE PLAYER IS THE FIRST 
CONSIDERATION IN ALL ' DEPARTMENTS OF PRODUCTION. 

DRAMATIC ILLUSION MUST BE SECURED FOR THE PER- 
FORMANCE WITHOUT SACRIFICING THE EDUCATIONAL 
PROFIT OF THE PLAYER. 

Besides the cast, a staff is required. The demands 
of the most elaborate production within reasonable 
scope of Educational work, as "As You Like It," 
" Tempest/ ' "Ingomar," or any fairly "busy" three- 
or four-act play, can be met by the following 
staffs 

Dramatic Director. — The Educational Director in 
general charge, whose decisions are final, and who is 
at once responsible for the educational and the dra- 
matic values of the production. 

Business Manager. — In charge of the business 
values of the production, carrying all business re- 
sponsibilities towards the Public and towards the or- 
ganization; controls expenses for the production. 
(House, advertising, printing, transportation, cos- 
tumes, scenery, properties, make-up, etc., etc.) Con- 
trols all money, the outgo for expenses, and the in- 
take. His should be the ticket-selling policy, and all 
business concerned with the entire enterprise. Con- 
sultation is imperative between the organization, the 
stage department and him, but decision based on 
such consultation should be his, and the carrying out 
of the approved policy should be left to him. 

It is understood that the Business Manager's chief 
concern, and his responsibility is the Business and 
Entertainment value of the production. 



50 EDUCATIONAL DEAMATICS 

His judgment must then be a factor in decisions 
concerning the program. 

Stage Director. — In immediate charge of the me- 
chanical part of the production. Sets, lights, effects, 
properties, music, make-up, and all the regulations of 
the stage department. In full charge of the running 
of the play, beginning with its production. (The 
first performance.) Responsible for the correct 
making of the prompt-book for use in the wings dur- 
ing performance; for the making of charts of direc- 
tion or "plots," as they are called; for the instruction 
of the stage staff; for plans of sets and other dimen- 
sions necessary for the instruction of those concerned 
for the supply of scenery; responsible for the order 
and discipline of the stage itself at all times and in 
all departments. During production, the Stage Di- 
rector should be in absolute and unquestioned 
control. He is directly responsible to the Dramatic 
Director. Should be able unassisted to conduct a 
revival of the play. 

The Dramatic Director may carry the responsibili- 
ties of this office. 

The Stage Director should also be able at any time 
to conduct rehearsal from the book. 

Stage Manager. — Directly responsible to Stage Di- 
rector during performance and to Dramatic Director 
during rehearsal. Familiar, at all periods of its de- 
velopment, with the progress of the play. Responsi- 
ble for making and keeping rehearsal book. 
During rehearsals records all developments concern- 
ing the mechanical (stage) department of the play. 
Able at any time to conduct rehearsal from the book 



PUBLIC PEEFOEMANCES 51 

or to take charge of a production of the play. Effi- 
cient to make announcements to the audience. Dur- 
ing performance is especially responsible for the work 
of the cast, the giving of signals for effects, music, 
curtains, dressing-room calls, etc., etc. 

Duties of Stage Manager may be carried by Stage 
Director. 

Prompter. — Holds book during rehearsal and 
prompts; holds book during performance and 
prompts; except in emergency, should not be diverted 
from this function. Must be absolutely familiar 
with text of prompt-book, and with acting require- 
ments. (Pauses in speech and in action.) Expertly 
familiar with the relation of all cues (music, effects, 
etc., to speech and action). Is under the immediate 
instruction of the Stage Manager whose duties he 
should be able to share or take in emergency at the 
shortest notice ; should be able to play a part or make 
announcements. A busy and responsible position, 
supplying excellent training in self-control, alertness, 
decision and general efficiency. Should assist Stage 
Director in making of plots for Stage department, 
and keep record of attendance and promptness, and 
have charge of manuscripts. 

Property Master. — In charge of all articles (prop- 
erties) used during play. May, under direction, pur- 
chase or make them. He is in charge of their dis- 
tribution for use at rehearsals and performances. 

Wardrobe Mistress. — In charge of all costume 
matters, and in control of the Ladies' Dressing Eoom. 
Should be able to make and mend. A position giving 
valuable training. May need an assistant to serve 



52 EDUCATIONAL DRAMATICS 

as dresser for the Ladies, and a man to serve in the 
Men's Dressing Room. 

There will be needed for large productions a man 
in charge of a force of scene shifters for the manage- 
ment of ''sets." These matters are all simplified 
in the usual Educational production. "When an 
equipped hall or Theatre is engaged stage force is 
usually supplied. 

Electrician. — In charge of all lighting. Must have 
professional knowledge. Is included in the stage 
force of any theatre. 

Call Boy. — Summons Players in time for entrance 
on the Stage. Calls are indicated on the book, by 
number. The Call-boy carries a "Plot" whereon the 
Calls are indicated by number. His place, except 
when running to make a call, is at the shoulder of the 
Prompter, from whom he gets the number of the call 
to make, his "Plot" supplies further detail. 

Certain Plays require assistants in charge of "ef- 
fects," rain, wind, "hoofs," etc., etc. Signals for 
these are indicated in the Book, a "runner" may be 
required to stand at the shoulder of the Prompter, 
and attend to such signal, take emergency messages, 
and if necessary hold the book at intervals. 

Players not eligible for cast work should be as- 
signed Staff duties. Players may profitably alternate 
Cast and Staff service. 

To Staff members attaches an official dignity, which 
should receive due recognition. The authority of 
each in his department must be unquestioned, and 
supported by the Director. Qualities of Self-control, 
initiative, emergency quickness, discipline, general 



PUBLIC PEEFOEMANCES 53 

efficiency, and co-operation and competition are all 
called on. 

An adequate and competent Staff is required for 
any production. Staff Members are brought into a 
specially valuable relation to the Director and to the 
Cast. They should be noted on the program, and 
the dignity of their service to the production main- 
tained. 

From first rehearsal, to final performance a for- 
mality and dignity attaches to the Stage. 

A rehearsal book, and a prompt book are required. 
A production book may be needed. 

Rehearsal Booh. — Text, typed or printed should be 
pasted on heavy paper, the leaves flexible, and loosely 
fastened together. Allow very wide margins, and 
generous spacing. Use only one side of the paper. 

As action develops indicate in pencil. As cues are 
established indicate. Establish Impulse cues (those 
cues at which the thought or feeling that will lead to 
speech, starts). 

Developments concerning costume, and properties, 
music and other Production matters, must be indi- 
cated. 

The Rehearsal book represents the development of 
the Play at any given moment. 

Production Cues (for Music, thunder, etc.) are 
herein established. The Rehearsal book is used with 
great freedom. Therein changes necessary in the 
text, cuts, and amplifications are set down. It must 
be Absolute Authority always. Trust neither your 
own memory nor that of any one. "Work is needed oa 
it after each rehearsal that it may be kept clear and 



54 EDUCATIONAL DBAMATICS 

legible. Rehearsal book must be made at each re- 
vival of a play, because action develops differently 
with each time of developing the Play. 

Prompt Book. — Is built on the Rehearsal book. 

It indicates the text, and cues for entrance and 
exit, and important moves, directly essential to the 
working out of the Play. 

Cues for calls, and effects, curtains, etc. 

Must be Very "Open" and easily followed, and 
clear. 

During Rehearsals the Prompt Book develops the 
absolute correctness and simplicity necessary for per- 
formance-use. 

A chart of each set, and copy of each " call-plot ' ' 
is included. 

The properties required for each scene, etc. 

Parts. — The Entire Text concerning the Player of 
a part should be cut out, and pasted on wide-mar- 
gined pages. All that concerns the Player should be 
penciled by him as rehearsals develop. 

For production he should prepare a copy of his 
Part, clear, and easily read, indicating only the essen- 
tial moves, and cues. 

An Emergency Prompt Book, and an Emergency 
set of Parts should be within reach at every per- 
formance of an elaborate Production. 

In case a Part must be taken at emergency notice, 
by a Player wholly unprepared, he is safer to read 
the Part from the Emergency Prompt Book, than to 
try to do so from a Part, which gives only the cues, 
for speaking. 



CHAPTER VII 
REHEARSALS 

The Director must direct. Players may not at Re- 
hearsal take the scenes into their authority. The 
Director's decisions in all Matters must be final. 
But that Director is at fault whose decisions are not 
in accordance with principles demanding the willing 
sanction of all concerned. 

Players are cast where they will most fully sustain 
the dramatic illusion of the play for the audience and 
to their own Educational profit. 

The loving understanding of the Play induced by 
the preparatory analytical study herein explained 
(The Player and the Part. Chap. VIII) will lead the 
Players to cheerfully set aside personal ambitions 
and prejudice, that the Play may be cast to the full 
strength of the organization. 

The Cast will at all times be kept in control, 
through their devotion to the integrity and high 
standing of the Performance. In this spirit changes 
in Cast are sanctioned by the understanding and ac- 
quiescence of the Player, and though ambition may be 
shattered, and physical limitations seem cruel, yet 
"for the good of the Play" is a banner that to the 
very finish floats in a breeze of popular approval, 
even though competition is keen, and justice in- 
violable to the edge of severity. 

55 



56 EDUCATIONAL DRAMATICS 

A glow of loyalty stirs every heart, making self- 
sacrifice a privilege, glorious in proportion to the 
profit of the Cause. 

Whatever the scale of Production the Player must 
develop from the first rehearsal through his final 
performance. 

He must come constantly into new Contacts and 
respond through a steadily widening range of Being. 
At no time may you make him a victim of reiterative 
drudgery. 

When "Form" crystallizes, stopping inner growth, 
Education stops. Develop members of the Cast 
evenly. The "give and take" between slow and 
quick Players is good for each. Kespectful love for 
a Player's "best" is engendered, no matter what the 
inherent dramatic value of that "best." The slug- 
gish Centres of the "slow" are quickened by contact 
with the eager responsiveness of the more alert. 

But do not permit the slow to check the quick, or 
to bring upon them the necessity of repetition that 
dulls impulse. 

Protect the dull from "crowding," and confusion, 
and from the chill that falls on Impulse when proc- 
esses are obstructed by discouragement. 

Conduct individual work as may be required. 

"Talent" is not the measure of a Player's value. 

You are not dealing with "talent" but with that 
dramatic instinct which unspecialized into talent, is 
the cry in each Being to find outlet in expression. 

Keep your play at a level. Guard against over 
elaboration of the First act, and hurry of the Last. 

Keep the "small Parts" level in growth with the 



EEHEARSALS 57 

"big Parts/' The Play itself develops the Big 
Parts, individual work is often necessary to vitalize 
the "Whole Man" of the Part developed only 
slightly by the complications of the Play. 

See to it that each Player concerned in a scene is 
kept animated by progressive impulses relating him 
to the situation. 

Do not too long rehearse without using accessories, 
and bringing action to completeness. The "lamp" 
you have too long allowed your Player to "imagine" 
and to pretend to light, may present complications 
in reality, that will jar him out of his Characteriza- 
tion, into self-consciousness. The "pretended" fight, 
the incomplete "embrace" may become rehearsal 
habit, and appear at performance. Being "told" 
and "understanding" is not the same as "doing." 
Rehearsal is "doing" to induce "living" processes. 
This whether the Production is a "big public one" 
or a private, Class-room affair. 

Settle early, matters of pronunciation and sense- 
reading, that your Player be not nagged during the 
period of creative growth. 

Distribute your rehearsal time to the different acts, 
that the Play may be kept at level. Make a rough 
chart covering the actual time at your disposal. 

The First act usually takes twice the time of the 
Second, the Second twice as long as the Third. Char- 
acterizations must become established in the First act, 
as well as the action of the Play. Vitality for growth 
must develop in the Second act. The Third act tends 
to ' ' make itself. ' ' So don 't attempt to bring the First 
act to "finish" before passing on. Rather let the 



58 EDUCATIONAL DKAMATICS 

action remain " sketchy," while Characterization 
takes root. 

The time required by the Last act, will be needed 
for general work on the whole play, for the rushing 
through of sequences of events, for the speeding up 
of climaxes and for the finer discrimination of per- 
sonal responses. 

Date three dress rehearsals. 

The final one two days before performance. The 
second dress-rehearsal two days or three before the 
last, and the first dress rehearsal a week or more 
before the second. As a rule leave room for an emer- 
gency " dress." As many dress rehearsals as there 
are acts, and one more is a safe rule. 

Begin scenery and property rehearsals independent 
of the Cast, about two weeks before production. 

At an early date begin the use of substitute prop- 
erties, and sets indicating entrances and exits, and 
other features related to the action. As stairs, win- 
dows to be opened, kettles to boil, etc. 

The completed set and stage equipment, having 
been developed and rehearsed apart from the cast, 
should meet the cast as a surprise and delight at say 
the second dress rehearsal, creating for them a stimu- 
lating illusion of reality. Players must not be de- 
layed, confused and fretted by contact with scenery 
delays and incompleteness. 

Make out your chart with greatest care, and stick 
to it though the heavens fall! Hang a copy con- 
spicuously. It sets a pace for work. Let there be 
plenty of unassigned spaces into which to put emer- 
gency and individual work. Bargain secretly with 



EEHEABSALS 59 

yourself the date at which you will accept the stand- 
ard of production as settled. Beyond that date make 
no attempt to improve the play except by reiteration 
that eases strain, and to make it "easy" as it is. 

Take Music-rehearsals without Cast to establish 
cues. Beware of using your Players to help the Stage 
Department. 

Rehearse the "lights" and "effects" by themselves, 
and along with the Production rehearsals, have them 
"easy" before they are risked with the Players. 

These various "calls" date clearly, and keep them 
relentlessly in view, that each may realize his relation 
to the whole, and feel himself now singly responsible, 
now an unconsidered trifle in a Splendid Whole. 

A generous yard square sheet of paper may hang 
by the chart, thereon pencil boldly things to be re- 
membered, details to be "made up." Let your cast 
realize the complexity of a production's organism. 
Cross off events as they happen. Cipher them as they 
"don't." Ciphers are spurs. 

Sequence. — (Methods must be flexible to occasion, 
this plan may serve as general suggestion.) After 
preliminary analysis of the whole play, and consulta- 
tion deciding the scale of production, and the Pro- 
duction Department's duties, take a reading rehear- 
sal of the whole play. Establish general give and 
take between characters, and an outline of necessary 
action. 

Walking Rehearsal of the Whole Play. — The Cast 
on their feet, book in hand, exits, and entrances being 
indicated by substitute set (chairs will do), and fur- 
nishings influencing action being substituted. Es- 



60 EDUCATIONAL DRAMATICS 

tablish necessary moves, and the position of charac- 
ters in relation to each other. 

Allow a Study Interval, and use it yourself by 
supervision of property lists, Costume plans, and 
Stage Department detail. 

Call the First act without books, and go easily 
through it to "fix" the work of the first rehearsal. 
Develop responses, and seek out impulse cues. 

Now Second act with books, recalling the work of 
the first rehearsal, and associating speech and action, 
and relating the events of the act to the Causes built 
in the First act. 

Allow a study period. 

Push at shoes, and hats, and other costume acces- 
sories, talk over make-up, and wigs. 

Rehearse the Second act without books, developing 
responses, put through the First act and the Second 
in sequence, and follow by a walking rehearsal of the 
Third act. 

All this you may not be able to do at one session, 
but in this period you should try to bring the Third 
act into sequence with the other two, that a sense of 
the Thread of Development may hold the players. 

Assign special work to level up the Second and 
First acts, and allow a study period. Attend you to 
progress in the Stage Department, and to the build- 
ing of the books. 

Call the Third act without Books, relate its events 
closely to the causes started in the other acts. 

Go through the whole play, as much as possible 
without interruption, take notes, and after each act 
discuss the points involved. 



EEHEAESALS 61 

During a study interval try on some of the cos- 
tumes. And perhaps read the play with the Pro- 
duction Department that cues may be certified. Now 
start with the First act again, and work through the 
play, raising its standard, keeping it level, and bring- 
ing up sagging Players, and places by individual 
work. 

A specially helpful form of individual work is the 
taking of one character straight through the play, 
scene by scene, in the sequence of that one Part's 
action. This is a quick way to develop small parts, 
and the relation of characters to each other. 

Now the three acts with accessories, allowing the 
use of hats, and trains, swords and other bothersome 
costume details. 

Lights and effects may be added. Such a rehearsal 
tends to take the minds of the Players off themselves, 
and prevent too early absorption in the Part. 

Now push into crispness exits and entrances and 
climaxes straight through the Play, and take odd 
scenes to whip them up into expertness. 

About now the first Dress Eehearsal. Call for 
everything, and be perfectly content with what you 
get. Let the Cast feel that the Mechanics of the 
Play are the important matter, and encourage them 
to take lines and action lightly, relating them to the 
play as a whole, and releasing them from the sense 
of individual responsibility. No interruptions. En- 
courage the Players to feel that they are testing the 
sets and costumes, and not at all being themselves 
tested. 

At this rehearsal you should be able to decide on 



62 EDUCATIONAL DRAMATICS 

the standard possible for Production. Give up un- 
reasonable ambitions, and face in a fury of determina- 
tion the necessary impossible. The Prompter with 
Book should be on duty, and the Stage Staff op- 
erating. On this occasion various "Catastrophies" 
befall. Keep your Players cheerful, keep the Play 
going, and even though despair and defeat seem to 
threaten, build cheerily for Victory, and make every- 
one believe that the present counts not at all except 
to show what must be done before next time. 

Now a period of "get-together." Be iron and wax, 
drive the faint, lean on the strong, grapple with the 
insubordinate, laugh at mischance, trust nothing to 
chance, lay hold on the law, and let it grip every- 
one, one's best cannot fail, and co-operation in a 
good cause is invincible. 

From the start your policy has been analysis, and 
steady amplification along logically established lines. 
"Wrong" action has never been allowed to become 
established, nothing has been trusted to memory, in- 
ner springs of action are settled, surface confusion 
need not alarm you. Things may seem chaos but 
they aren't. 

Let all anguish of pressure come between the first 
dress and the second. You have a week or more to 
straighten things out, and up -build by individual 
work. Swing everything to the top of the standard 
you have decided on. Let people see that they have 
shown you what they can do, and that by your love 
of them, and their right to their own best, you are 
going to have that best out of them, and death to him 
that stops you. 



KEHEABSALS 63 

Let them grasp the idea that the Play is in struggle 
to find itself! It's " altogether or go down!" 

Call everything for the second Dress. And the ver- 
ity of the Play should emerge, if not wholly, at any 
rate enough to swing the Players into illusion. With 
whip and spur lash everything to its best. You ride 
a race horse whose top of speed you only know. 
Every Player knows his Best is his right, and that 
you are going to get it. Great the value of this 
"strain." It's efficient work at high pressure. It's 
a test of the self-control built to this point. In its 
white heat small differences and petty restrictions 
melt in a noble frenzy of love and determination. 

"Together or go down" and "Together can't go 
down" comes true. Hearts are welded together in 
the glow of roused humanities. The nervous and 
physical strain is something but that too is test, The 
Director represents to each his own highest will, be- 
fore which "can't" disappears. Your nerves and 
spirit must be poised. Love and efficiency blend in 
unfaltering demand for the Utmost and then more. 
Because you see a best beyond their own measure, 
they feel themselves lift with an inner power they had 
not known. 

From now on lift the strain. The top has been 
touched. Be triumphant. Steady. Assured. Plen- 
tiful of praise, easy of shortcomings. Bother no one 
with comment on what cannot be corrected, and noth- 
ing but the Stage Department can be corrected now. 
Laugh at what can't be helped. Put your Players 
at happy ease. Standard is secure. Minor deviation 
doesn't matter. Be kind. Don't nag. The joy of 



64 EDUCATIONAL DEAMATICS 

their work must not fail your people. Let them have 
the interval for that private work to which each one 
now is urged by his sudden realization that he is 
within reach of a better than he guessed. 

Meet you efficiently the final demands on the me- 
chanical side. With your own eyes and hands test 
every detail. 

Absolutely demand a complete assemblage of all 
accessories the day before the final dress rehearsal. 

This is the best time for a complete ''Production 
rehearsal" without the cast. 

Final Dress goes on complete. Curtains, sets, ac- 
cessories, everything. Staff operating, and a few 
guests in front. No Players allowed outside stage 
precincts. Discipline strict. Yourself in front. If 
accidents happen, pass them off. If a sudden nerv- 
ousness paralyzes, or lines disappear be not discon- 
certed. What happens "Wrong" with a rightly 
developed Cast at the final Dress will go right at Per- 
formance. Keep your Players happy. This is just 
an easy final practice, of something we are all sure 
about. 

Keep the Play moving, and send your Cast home at 
the end tired, happy, sure. Call a seated reading re- 
hearsal for the day before production. Nothing so 
steadies nerves and reinforces lines and spirit. Rest 
and peace for the Cast, and probably a final agony for 
you with details of the stage. Allow no regrets. A 
performance at Standard is secure. The production 
is not to be judged by its dramatic value, but as the 
flower of a splendid "pull together" through sus- 
tained effort to accomplishment. 



EEHEAESALS 65 

The dramatic values will take care of themselves. 

You should be able to attend your own first night 
with serene mind. The play operated by its own Staff. 
Your work is over. (Personally I do not intrude be- 
hind the footlights from the time of the first Dress 
Eehearsal and I take my place in front, one of the 
audience, on the occasion of Production.) 

Discipline is the safe-guard of Production, and its 
success depends rather on the Staff than the Cast. 

If mistakes are made discipline and self-control 
covers the fact from the audience. The Cast is up- 
lifted in the spirit of the Play, and dramatic verity 
carries them through. 

Neither awkwardness or over-ease mars the beauty 
of the Playing. And when the Players are animated 
by real-life processes, dramatic illusion is assured for 
the audience. 

- The Cast gathers for the final Call, and the Staff 
joins them, the Prompter with his book, the Stage 
director with the Production manuscript. No! no 
call should bring the Director to the stage. Her work 
was complete at the Dress Rehaersal. The Play is 
the Players' now. 

Let me urge that big Productions are not suitable 
for the earlier stages of dramatic development. 

Should Children be included in the Cast they must 
be protected from all strain. They must be guarded 
from that sense of responsibility to the audience and 
the play which is so salutary to the older Player. 
We rehearsed the Fairies and Elves of Midsummer 
Night's Dream in Bronx Park, making each occa- 
sion a happy holiday. They were guarded from 



66 EDUCATIONAL DEAMATICS 

stage and dressing-room impressions. They flocked 
onto the stage on the occasion of the first performance 
with an abandon and delight that touched the high- 
est standard of dramatic audience-value, and guaran- 
teed their animation by Impulses operating with the 
freedom and joy of real-life processes, 



CHAPTER VIII 

THE PLAYER AND THE PART 

A Part is a new personality into which the Player 
slips his humanities, and wherein his humanities are 
exercised in new combination. 

The Play provides environment for this activity. 

Impulses animating the Permanent Personality in 
real life, are generated in the verities of real life and 
reinforced by the permanent conditions of the Being. 
They are rooted, and take energy from the deeps of 
permanent personality. 

Induced dramatic expression takes its energy from 
the shallows of a Personality transiently in authority, 
and in an imagined environment. 

The Permanent Personality is present and on 
guard, and undeceived by the dramatic conditions in- 
fluencing the Dramatic Personality. 

The Permanent Personality tends to retire gradu- 
ally as the Dramatic Imagination strengthens Dra- 
matic Instinct. The early stirrings of the Dramatic 
Personality do not animate the Whole Being. 

Until the Dramatic Personality is firmly estab- 
lished, its operations are liable to interruption by the 
Permanent Personality (the real self). 

The Dramatic Personality comes gradually into 
authority, the processes of its installment require ex- 
pert supervision and guidance. 

67 



68 EDUCATIONAL DRAMATICS 



STEPS DEVELOPING THE DRAMATIC PERSONALITY. 

I. Analysis. — The brain centres of the Player are 
focused on the study of the text, its verities are dug 
out. Understanding warms to sympathy. 

II. Dramatic Imagination comes into activity. 
The verities of the play take living reality. The 
humanities of the Player stir, and he begins to see 
and love the people of the Play. The circumstances 
of the Play take on the verity of real life. 

III. Dramatic Instinct rouses. The Impulses of 
the people in the Play begin to stir the Players as 
do their own. An instinct rouses to "do," — to "be" 
to "live" animated by these impulses. 

IV. Impersonation. — The Dramatic Personality be- 
gins to take authority. Life processes start, the area 
of responses widening as the Dramatic Personality 
becomes established. 

V. Characterization. — The Permanent Personal- 
ity retires wholly, the resources of the Being are at the 
disposal of the Dramatic Personality. Real-life proc- 
esses swing freely from Contact to Expression, — the 
instrument flexibly responding with spontaneous 
speech and action. 

METHOD. 

Analysis is accomplished by readings of the Play, 
and by discussion. 

The first reading (by yourself) will present the 
story and the general relation of the characters to the 
story and to each other. You should be prepared by 
a complete knowledge of the Play. 



THE PLAYER AND THE PAET 69 

"Round-the-class" readings follow, each Player 
taking the speech that falls to him. Such readings 
are interrupted by discussion. Subject situations, 
events, and characters to that relentless logic of cause 
and effect which governs real life. Check "emotional 
response." Let the brain endorse first. Seek to 
rouse interest and establish understanding, rather 
than stir sympathy. 

A "cast reading" may follow. Assign parts, — 
several Players to each Part. Players cast for a Part 
take in turn the speeches of that Part as they come. 

The characteristics of the people of the Play be- 
gin to unfold. By searching questions, cover the 
inner drama, — the thoughts and feelings roused in 
the people of the Play by the events of the Play. In- 
terpret according to the highest possible standards. 

As the Player realizes the inner man, let him seek 
the reflection of the inner man in outer speech and 
doing. Build in him the expectation that inner and 
outer man shall be the reflex of each other. Check 
that instinct which tends to merge the Player into 
the "doing" period. Keep him still outside the Part, 
— an observer, a student, a seeker. 

By searching question, force the Player to realize 
the independence of the character as a human being. 
Lead him to see the character's deeds as an outcome 
of his inner relation to his environment. 

Rouse in the Player a respect for this separateness 
of individuality and guard him from intrusion of his 
own processes, judgments and feelings into the field 
of this separate personality. 

He will approve or disapprove the character's mo- 



70 EDUCATIONAL DEAMATICS 

tives, but he will recognize them as the animating 
cause of his ' ' doing, ' ' and inasmuch as he realizes the 
sacredness of this "separateness" and its inviolable 
relation to character, he will understand the man, and 
understanding will warm his heart. He will feel the 
magic kinship that knows itself Brother to all, and 
One with each. 

Dramatic Imagination held back, but feeding all 
the time on fact, and transmuting it into the dramatic 
field, will have merged into Dramatic Instinct. 

Reading, and voice, and countenance, begin to 
respond automatically to the demands of the dramatic 
personality, — impersonation begins. 

Deal now especially with a consideration of what 
is "done." By searching and eager questions, build 
out of the text the action that is demanded by the 
text. Thus encourage dramatic imagination to 
strengthen the impulse of "doing." The area of ex- 
pression widens, the Players grow restless at the re- 
striction of the book in hand. They fret at telling 
about what their beloved man is doing, — it's easier 
to "let him do it." The Dramatic Personality swings 
into place, impulses, generating, tingle through the 
being, — the period of Characterization has come. 

Now get your Players on their feet, and free of 
books. Utmost care is now required that the plane 
of cleavage between the Player and the Dramatic 
Personality be kept intact, and no clumsiness or pre- 
mature effort startle self-consciousness into activity. 
Let action grow, slowly, naturally. 

Remember the Player's Being is not yet wholly 
governed from the Centre of the Dramatic Personal- 



THE PLAYER AND THE PAET 71 

ity. The channels of expression called upon are un- 
accustomed, the area of response restricted. 

At any minute the Player's own Centre is liable to 
jarring that throws him into an agony of alertness to 
personal contacts. The mind may focus desperately 
and suddenly on some external of the Part, or upon 
the "way he wants to do it" or the way he thinks 
you want him to do it. 

The mantle of the Part falls from him and leaves 
him anguished at what seems an indecent exposure of 
himself to the glare of observation. 

Inner processes of the Dramatic Personality may 
be paralyzed, and the beleaguered Player may seek 
consciously to move the unwilling instrument. 

All these agonies are accepted as features of the 
usual coaching. Educational Methods must guard 
the Player from them at every point. Discomfort 
may arise from many sources. Perhaps insufficient, 
or incomplete Contact causes coldness, inability or 
sluggishness of Impulse. Then strengthen Contact. 
By question and comment, present new Contacts. 
Give more time for the attack of Environment. Let 
it strike at several sense-gates. Prolong and vitalize 
the period of Investigation. Perhaps discomfort 
comes, — not for lack of powerful Impulse, but because 
channels of expression are unaccustomed, and offer 
obstruction. Impulse should spring automatically 
and channels of expression should open automatically 
before it. 

But perhaps they don't. Reduce then, the area of 
expression. Suggest a movement less large. En- 
courage the Impulse to saturate fully that area of the 



72 EDUCATIONAL DEAMATICS 

instrument that responds readily, trusting it to 
spread further as the body gains in flexibility, and 
the Dramatic Personality becomes more "at home" 
in the Instrument. The Player, thrown suddenly in- 
to awkwardness by an attempted rush to welcome the 
unexpected friend, will find himself perfectly com- 
fortable if his Impulse only lightens his countenance 
and perhaps outnings the hands. Fuller expression 
may come later. Let your Player grow to it as the 
Dramatic Personality takes deeper hold. 

A Real-life Impulse does not undertake an expres- 
sion it is not sufficient to animate. Induced Dramatic 
Impulses must be guarded from doing so. 

Watch your Player lovingly, — expertly. As char- 
acterization develops, the relation between the Dra- 
matic Personality and its environment becomes more 
complex and delicate. As in real-life, Environment 
flags Centre, Centre, not fully operating, perhaps 
does not respond. Dramatic attention which must 
engineer Contact may be wavering. The Player is 
vaguely discomforted, and processes falter. Be you 
alert to support and invigorate, and set in motion 
hesitating responses. 

Perhaps Self invades the dramatic field. Read in 
the constricted brow, the seeking look, or stiffened 
hand, the intrusion of some private worry. Know 
by the lifted and hardened shoulders that a burden of 
self-consciousness has been taken on them, and by a 
sudden attack upon the Dramatic Personality, an un- 
expected forcing of new Contact reanimate the Dra- 
matic Centres, and so dislodge the invader before the 
Player is aware of discomfort. 



THE PLAYER AND THE PART 73 

You should know the significance of each inch of 
the Instrument. There is no end ever to the wonders 
and beauties and delicacies built into the body by 
the generation and flow of Impulse. Study, learn, 
love your Player, and build into him that same love 
of his Part that you feel for him. That same jealous 
determination that the inner soul of a Being shall 
outflow unchecked. 

Concern yourself not at all about the production 
value of your Player's work. Keep him in love with 
the Part, and eager to do it justice, humbly, happy, 
as he feels it draw more and more upon his resources, 
and he will not concern himself about the audience 
either. 

When your Player is comfortable in every instant 
of characterization, when from a firmly and lightly 
balanced Dramatic Centre, unmixed and efficient Im- 
pulses swing freely through open channels, shaping 
the body to flexible response in expression, then, as 
if by magic, his " doing" takes on dramatic value. 

A Characterization emerges whole and alive, grip- 
ping the attention of the audience, and fully satisfy- 
ing the Player. A "performance" results of educa- 
tional significance and entertainment value. 

The Player is not greatly ' ' gifted. ' ' The Teacher is 
not a "wonderful coach." She is not a coach at all! 
Dramatic Instinct has been co-operated with to induce 
real-life processes. Just regulation of natural law 
to Educational profit. 



CHAPTER IX 

TEXT, READING AND SPEECH 

Speech is a branch of expression. Speech impulses, 
or the desire to communicate, is a strand of that gen- 
eral Expression-impulse put forth by the re-condi- 
tioned Centre. Expression results from pressure at 
Centre, caused by inflow of new relations to environ- 
ment. Thus the safety-valve whistles when steam 
pressure passes a certain point. This pressure at 
Centre seeks relief and communication. Expression 
is this relief and communication. Both purposes are 
fulfilled by the re-adjustment of the Instrument in 
aspect and action. Both purposes are served by 
Speech, but the primary function of the Instrument 
tends to be to relieve, and to do, while the primary 
function of Speech is to communicate. 

Speech names that which is already known and 
felt. The Instrument takes form spontaneously to 
express inner condition, so Speech takes form spon- 
taneously, and words crystallize about the Speech- 
impulse. Steam issuing from the kettle condenses 
into form. So communication-impulse condenses into 
words, and Speech results. This is the law of life- 
speech, and when, in life, this law is balked, or inter- 
fered with, we stammer, or are otherwise embar- 
rassed, or betray a "preparation" which undermines 

74 



TEXT, READING AND SPEECH 75 

the value of our speaking. Makes it cut and dried, 
or artificial, or unconvincing. Notoriously, Speech 
depending upon the prod of memory, is likely to 
fail, and certain to fall cold, while Speech out-flung 
hot from impulse, may tumble incoherent, but is alive 
and says things. Life-Speech is communication-im- 
pulse, condensing into words, so Dramatic Speech 
also is the condensing into words of the Communica- 
tion-impulse. 

In Life, Centre is stimulated by contact with en- 
vironment. In Dramatic Life, Centre is stimulated 
by contact with supplied environment. You see, 
then, how necessary it is that in the earlier and sim- 
pler regulation of the Dramatic Instinct, Speech 
should be a part of Dramatic Expression unhampered 
by "text," and spring spontaneously into form, just 
as does Life-speech spring spontaneously into form. 
There inheres an essential artificiality in Text, for 
Text is the provided form to which Communication- 
impulse must accommodate itself. That is, Text sup- 
plies words, into which Impulse must push itself, and 
through which it must express itself. When, then, 
we deal with Text, a complex process is forced upon 
the Player. By analysis of the Text, the material for 
Dramatic Contact is secured. With this material 
contact is made. Life process results from this con- 
tact, and the process culminates in out-flung com- 
munication, which must find its expression in the 
form provided by the Text. 

The function of Text, then, is double. First it 
supplies contact, second, it serves as form. 

"This is my dog, I won't let you hurt him." These 



76 EDUCATIONAL DEAMATICS 

words may be read ; backwards or forwards, it makes 
little difference. 

Reading records words the eye identifies upon the 
page. The problem of the Dramatic Director is to 
bring speech (not words) from the mouth. Force, 
then, this text to perform its first function. Begin 
with analysis. "Who speaks? What about? Where? 
Why? What is happening, etc., etc.? Assemble the 
facts provided by the Text, and proceed as on page 
63. Arouse interest, put the facts into glow of 
sympathy, stir the imagination, presto! The Dra- 
matic Instinct leaps. Dramatic Centre takes hold, 
Impulse out-throws, and Speech results, which is 
willing to accommodate itself to the Text form. 

If you are dealing with a Play, and seeking com- 
plete expression as a result of characterization, the 
impulse will have flooded into action, as well as to- 
wards spontaneous speech. The Speech-Impulse will 
presently be willing to accommodate itself to the Text 
form. I say "presently," not necessarily at once. 
Better not at once. Let the roused impulse outfling 
into words of its own crystallizing, at first. When 
the Impulse is established, it will be willing to take 
any suitable words in which to express itself, pref- 
erably those of the Text. 

If you seek Dramatic Reading merely, and not 
Dramatic Speech, the process is the same, except that 
it is not carried so far. The Dramatic Imagination 
being roused by analysis of the Text, the Reader 
proceeds, the eye is supplied with the form of words 
on the page, and into that form of words aroused 
Dramatic Impulse flows, expressing the ideas therein 



TEXT, BEADING AND SPEECH 77 

contained. Thus the Text on the dry page is not 
emitted into the air by a perfunctory articulation of 
words, called reading, but it springs alive from the 
page to enclose and express the impulses and ideas 
with which it has supplied the Reader. 

Here follows a little chart of Definitions: — 

Text source of required contacts, and 

the form of resulting speech ex- 
pression. 

Reading enunciation or recording of 

words seen upon the page. 
Dramatic Reading. . words of the Text used by the 
Reader to express the ideas re- 
ceived by him from the Text. 

Speech Translation of Communication 

Impulse into spontaneous 
Speech form. 
Dramatic Speech. .. .Translation of Dramatic Im- 
pulse into spontaneous Speech 
form. (As in Story-Playing, 
"Supposes," etc.) 

Text Speech Dramatic Speech resulting from 

contact with ideas conveyed by 
the Text, and expressing itself 
in the form provided by the 
Text, such speech being a part 
of Dramatic Expression. (This 
is the speech of the character in 
the Play.) 
Do not imagine that I am trying to cover the 
entire field. I mean here, to set up a few sign- 
posts, that is all. 



78 EDUCATIONAL DEAMATICS 



BREATH AND SPEECH 

Breath vocalized, shaped into language sounds, and 
used to convey idea — that is another working defini 
tion of speech. 

Speech is made of breath. Breath is life. At an} 7 
rate, no breath no life. Also quality and degree of 
life may be measured by breath. Asleep, breath level 
and ample supplies physical life-demand unagitated 
by the confusions and violences of living. Awake . 
the physical must get breath as it can. But the 
physical is imperative though it will make all sorU 
of concessions. It is willing to "grab" its breath in 
between times. It provides against encroachment 
by supplying extra breath to support the many con- 
fusions and violences of living. It provides for run- 
ning and talking, scolding and weeping; it provides 
for the augmented living of joy, and accommodates it- 
self to the suppressions of grief; it provides for bub- 
bling laughter and the gulping of sobs. Meanwhile 
without bothering us much about it, physical life keeps 
itself going, lungs supplied, and circulation safe. 
The one thing it seems unreliable about is Elocu- 
tion. Right at the top of "the big speech" the 
proud actor is, like as not, left to gasp his noble 
climax windless and futile. Dame Nature ignores 
Elocution. 

Flexible and efficient as is life's physical policy, 
at the pinch, our interests and violences, efforts and 
confusions, must wait while the lungs "catch up." 
When we have run as far as it is suitable for lungs 



TEXT, READING AND SPEECH 79 

to allow, we stop. Even if a lion and a tiger is after 
us. We lie right down while the deliberate lungs 
catch up — maybe the lion and tiger eat us. At any 
rate, physical life, at the final pinch, takes no con- 
cern either of our imperial wish or of tigers. It 
attends to its business and breaths. Up to the final 
pinch it makes every concession, but at the pinch we 
obey. If disobedient we are "knocked out" if neces- 
sary. Life-breath must happen all the time, and 
normally, the lungs are kept supplied independent 
of the extra demands of living. You see, we make 
a distinction between life and living. Living is what 
we do with life. 

Speech being made of breath, it learns to be ac- 
commodating too, and it uses what breath it can get. 
Normally, it is kept supplied without our thinking 
about it, but if the special supply fails, speech will 
grab whatever breath is coming. It will even borrow 
from Life-breath. 

Speech is a comparatively late function of living. 
Feeling came long before it. Fight and grief, and 
joy, all modes of living, made demand on breath 
long before speech came. Fight and grief and joy 
vocalized themselves too before they spun out into 
speech. The grunts and grindings of fight grabbed 
its requirement from the extra breath that was sup- 
plying the fight effort. Joy laughed before it trans- 
lated itself into words. 

Now when fight comes up, and the breath packs 
hard to supply its needs, out of that packed breath, 
words are flung. They come quick and hard and 
broken of course, — that's the sort of breath they are 



80 EDUCATIONAL DRAMATICS 

made of. So laughter-speech is all bubbled up and 
tossed about on the laughing breath ; so too words 
are wrung, and wounded and suffocated taking their 
chance with the gasping breath of grief. 

Words, speech, may be thought of as afloat upon 
breath as rose petals tossed into a basin of water. Tip 
the basin, toss and ruffle the water, the petals toss 
about too. When living flutters up the breath, 
speech, made of that breath, is fluttered too. 

A cry is torn from a terrified throat. Outflung 
with it the word shrieks its message : ' ' Help ! ' ' What 's 
the more important, the word as such, or its service 
to the life that creates it? Its service of course. It 
won 't do to ' ' read ' ' the text ' ' I am falling — help ! ' ' 
It makes no real sense "read." A life condition 
must be behind the words. A life condition that 
breathes must cause the words. How will they 
come, how will they sound, — who knows! but they 
will be made of the breath of that condition, and 
so they will express the condition, and convey the 
associated idea. 

Thus speech (not reading or elocution, but speech) 
cannot escape doing more than fulfill its primary 
function of idea. On the page, the word is confined 
to that primary function. It is a symbol of an idea, 
and when we recognize it, we are brought in mental 
contact with the idea. But when speech is outflung 
as an expression of living, it not only conveys idea, 
but being made of breath that supports the living, it 
expresses the living, or the condition, too. 

Early then, the Educational Dramatic Director 
must know that lung breath, or life breath, and liv- 



TEXT, BEADING AND SPEECH 81 

ing breath are different. Each mode of living pulls 
its own kind of breath, and out of that kind of 
breath speech is built and so expresses the life that 
makes it, while it performs its function of saying 
what life wants to tell about it. 

So it comes about that speech often performs a 
complex and delicate function. The idea the word 
bravely announces is cancelled or supported, contra- 
dicted, or modified, or augmented by the quality of 
life or condition which the word at the same time ex- 
presses. "I hate you" means just one thing there 
on paper. Spoken (not "read" mind you) the words 
may be packed with the breath of love and invitation. 

Inasmuch as eyes, and lips, voice-quality and every 
inch of speaking fair flesh betrays condition. You 
see that speech is indeed only part of that expres- 
sion, and is therefore product of life and condition, 
as well as invoked in service of communication. 

To understand the relation of speech to breath, and 
so to life, is to be able to develop control and regu- 
late speech at its source, condition. Its source is 
condition; condition outflings energy which trans- 
lates itself into breath and so supports expression 
including speech. 

The process charts simply : 

Centre re-conditioned 

Generation of energy 

Outflow of impulse 

V , > 

I 
breath 

. I 

i ; — ' A 1 

action speech 



82 EDUCATIONAL DEAMATICS 

Remember the translation into breath, or the 
" drawing" of breath is simultaneous with the out- 
put of impulse. 

The sequence is to feel, to breathe, to do, to speak. 

"I hate you. Oh, forgive me! It isn't true!" 

Analysis of breath history: 

A new conditioning takes place after the first out- 
fling of idea ("I hate you"), and that new condi- 
tion draws its breath. "Oh," vocalizes condition 
merely. Ideas have not yet come — feeling is not 
fully matured. Breath comes as required, support- 
ing transitions of feeling and maturing of ideas into 
expression. (Rose petals afloat on water!) 

You see back of speech is a history of condition, 
transitions, feelings, — and the agent of these is 
breath. 

So, in developing Speech, or Dramatic Reading, 
bring your Player into contact with the ideas con- 
veyed by the text. From that contact develop the 
Life Sequence establishing condition. See to it that 
the condition is firmly enough rooted, and vital 
enough to breathe, and, out of that breath, the word 
will come. Thus only do words fulfill a complete life 
function, and attest living and condition, while they 
fulfill their primary purpose to convey idea. Real 
Life Speech is made up of these kinds of words. So, 
too, is Dramatic Speech and Dramatic Reading. 

Remember feeling draws breath first, and, out of 
feeling, comes decision, and part of decision is speech, 
or communication. Words on the printed page run 
along an unbroken stream of ink, but ideas develop 



TEXT, BEADING AND SPEECH 83 

by quite another process, and, when these words are 
put to the purpose of speech, and become part of 
the life process of expression, there are gaps, and 
rents, suspensions, and waits pushed in among them, 
attesting change of condition, giving time for fresh 
impulses to gather, and awaiting a new breath by 
which impulse will support new expression. Just so 
far as feeling obstructs decision, speech will be cor- 
respondingly obstructed in its primary function of 
conveying idea. Under pressure of feeling, words 
become jumbled, sense is half conveyed, or lost en- 
tirely, exclamations and half enunciations take the 
place of words; but, so soon as ideas are marshalled 
at the centre, it is primarily the business of speech to 
convey these ideas; therefore, in developing Dra- 
matic Speech, see to it that the communication im- 
pulse is imperative and prevails to "make sense" of 
its saying, though the words may be freighted, also, 
with the condition of the speaker. 

"I want to get out." Sick or well, frightened, in 
a hurry, angry, or drunk, these words should fulfill 
their communication function. Sickness may en- 
feeble them; fear, whisper them; hurry, break them 
into gasps ; anger may strain them, and, though they 
reel and fumble, as do the steps of the tipsy man, yet 
their primary struggle is to record decision. All the 
rest of their expression is inherent in the condition 
of the speaker, and in the voice and breath out of 
which the words are made. 

So, again, let me say, reinforce the periods of the 
Life Process, and Expression, including Speech, fol- 
lows as part of the Life Process. When the Dra- 



84 EDUCATIONAL DRAMATICS 

matic characterization is established, see to it that 
it breathes as the result of its Life Process. Sup- 
ported by that breath, Dramatic Expression will fol- 
low, and Educational profit result, because the Play- 
er is being exercised in living, and developed by 
living. His Life Processes have been stimulated anc 
regulated to Educational purpose, and self-expres- 
sion. Give that thread-bare phrase, "self-expres- 
sion" another thought. Divine self-expression is an- 
other word for the Cosmos. 

The stars, and the deep sea, 

The great hills, and flowers, and you and me. 

That is the Cosmos. Divine self-expression culmi- 
nates, in the present moment, in you and me, and our 
precious Players. To put it another way to which 
we are more accustomed, the process of evolution is 
continuous, and culminates now in Man. In Man 
we find an instinct for self-expression. It would 
seem that the evolution process, or Divine self-ex- 
pression, is now to be carried on by the exercise, 
through humanity, of humanity's self -regulated 
processes of self-expression. 

The Dramatic Instinct stimulates and exercises 
our instinct for self-expression. It urges us to a 
wider range than that suggested by our own per- 
sonality and environment. In this view, the Dra- 
matic Instinct becomes the agent of the great prin- 
ciple of evolution, and, in this view, its dignity and 
importance as a factor in Education looms big. 

The Cue and Impulse Cue. — Technically, the cue 



TEXT, READING AND SPEECH 85 

is understood to be the word upon which the Player 
begins to speak his lines. The frequent trouble is, 
that he does not, at that word, begin to speak his 
lines, and that no coercion can make him do so. 
He thinks he "speaks on his cue," but, in reality, a 
great, barren, blank space follows the cue, during 
which he is getting ready to speak. Let me offer you 
a cure for this condition. 

"B," the speaker, is expressing his condition and 
intents and desires in words, because he is desirous 
to communicate these to "C," who is listening. It 
is "B V desire and intent to make "C" listen and 
understand, and this desire and intent have, spon- 
taneously, an influence upon his way of speaking. 
He keeps a sharp eye on "C," prodding him with 
ideas as pins are stuck into a pin-cushion, and assur- 
ing himself that each point penetrates, and each pin 
sticks. "C's" inner condition develops under these 
communications. In other words, he is listening and 
hearing, and understanding. If these processes get 
behind a little, he will convey some signal of dis- 
tress to "B," or, even if he does not, "B's" sharp 
eye will realize that "C" is behind, and the way of 
the prodding pin will be regulated to suit the situa- 
tion. Presently, one of the ideas stuck in by "B" 
starts "C's" communication-impulse, or, in other 
words, supplies to " C " an idea with which he makes 
a personal contact resulting in a re-adjustment, and 
an out-flow of impulse, which includes communica- 
tion-impulse. This impulse draws the required 
breath, and ' ' C ' ' speaks when he is ready and when 
"B" lets him. 



86 EDUCATIONAL DEAMATICS 

Take note of the talk about you, and of your own. 
We, talkers, never bother about cues. It is a spon- 
taneous "give and take" of speech. In dealing with 
the text out of which we are to make this "give and 
take" of speech, realize that "B's" speech contains 
two cues. The first, and really important one, is that 
which starts "C's" communication-impulse, as above 
explained. The "speaking cue" occurs later, and, 
by the time "B" delivers that cue, "C's" impulse 
has had physical time to take that required breath, 
and " C " is ready to use it for speech. 

Here is an example. "B": "You took the 
money. I saw you." The speech-impulse of the lis- 
tener, "C," starts at the completion of the accusa- 
tion. (The word money.) He, in other words, is re- 
conditioned by contact with the idea conveyed in 
that accusation, and, whatever the condition this con- 
tact creates, an impulse is started and breathes. Ex- 
pression, including speech, supported by this breath, 
has time to appear at the "speaking cue" (the word 
you). Instead of a listener, fixed in an agony of ap- 
prehension upon the emission of a certain sound by 
his fellow-player, and stiffened with determination to 
speak at once upon the hearing of that sound, the 
Educational Player, "B," hardly takes note of the 
words following those which give him his impulse. 
He is busy with the Life Processes started by that 
impulse, and, when they culminate, he speaks. A 
"taking up of cues" results, which suddenly trans- 
forms the "lines" into talk and dialogue into the 
"give and take" speech of life. 

It is the Director's business to see that impulse 



TEXT, BEADING AND SPEECH 87 

cues are intelligently supplied in the text with which 
he deals. Many an otherwise well written Play needs 
a skilled hand of correction here. 

Text must not prod the Player with speaking cues, 
which force him into utterance without time for 
speech processes to culminate in support of utter- 
ance, nor must text arouse impulses which are kept 
waiting until they chill, and fail, and dissipate, be- 
fore the needed speaking cue arrives to release ex- 
pression. 



88 EDUCATIONAL DRAMATICS 



FINAL WORD TO TEACHERS. 

I have here set down but the barest outline of un- 
derlying principles. 

I earnestly invite Teachers to further study. 

Meantime only experience will bring expertness. 

I do not mean experience in teaching alone. I 
mean experience in life. Until you are humbled and 
strengthened by the conviction that in your own heart 
beats the pulse of every other heart in the world, you 
lack the courage, the tenderness and the wisdom, to 
deal with this great creative force, the Dramatic In- 
stinct. Until you recognize that the haphazard of 
good intent does not equip you to handle a force at 
once beneficent and terrible, you are no more to be 
trusted as an Educator, than is an amateur to be 
trusted to use the powers of electricity. 

You are urgently invited to further study. 

Emma Sheridan Fry 



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